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

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

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

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

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

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

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

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

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

Nozick analyzes fundamental issues, such as the identity of the self, knowledge and skepticism, free will, the foundations of ethics, and the meaning of life.

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

INTRODUCTION: REASON AND THE PASSIONS i. Philosophy? This same philosophy is a good horse in the stable, but an arrant jade on a journey. ...

This important book charts the development of philosophical thinking about history over the past 250 years, combining extracts from key texts with new explanatory and critical discussion. The book is designed to make the work of thinkers such as Hume, Herder, Hegel, Dilthey, Nietzsche, Heidegger and Foucault accessible to students with no prior knowledge of Western philosophy. An introductory section is followed by nine further chapters exploring contrasting schools of thought. The volume reveals the origins of contemporary trends in the (...) discipline and relates wider philosophical reflections to the study of history itself. It also points to connections between philosophy of history and literary and cultural theory which have developed in recent decades. (shrink)

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

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

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

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

Winner of the 1975 National Book Award, this brilliant and widely acclaimed book is a powerful philosophical challenge to the most widely held political and social positions of our age--liberal, socialist, and conservative.

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

Theories of discourse bring to realism new ideas about how knowledge develops and how representations of reality are influenced. We gain an understanding of the conceptual aspect of social life and the processes by which meaning is produced. This collection reflects the growing interest realist critics have shown towards forms of discourse theory and deconstruction. The diverse range of contributions address such issues as the work of Derrida and deconstruction, discourse theory, Eurocentrism and poststructuralism. What unites all of the contributions (...) is a sense that it is essential to provide a realist alternative to the hitherto dominance of social constructionism, hermeneutics and postmodernism, over many of the issues discussed. By developing a realist perspective the different authors attempt to embed discourse within the structured nature of the reality of the world. Realism can situate language, discourse and ideology within context specific, or 'causally efficacious' circumstances. Realism can help to uncover issues of power, representation, and subjectivity and how discursive and other social practices produce real effects. This can help us understand the manner in which social structures are reproduced through various forms of ideology and discourse. And by knowing this, we can start to address questions concerning human emancipation and how the world is to be transformed. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:Reflections on InsightDilemmas, Paradoxes, and PuzzlesMarga Reimer (bio)Keywordsinsight, psychosis, treatment adherence, medical model, autonomy, open placebos, rationalityThe Practitioner's DilemmaThe psychiatrist aware of the potential intractability of what Jennifer Radden calls "insightlessness," faces a dilemma. Should she encourage her patient to embrace a medical model of his "troubles," a model whose adoption is likely to motivate treatment adherence? She might then be trying to do the impossible; she might (...) also alienate her patient in the process. Should she instead encourage her insightless patient to embrace his own non-medical model, according to which treatment adherence makes no medical sense whatsoever? She might then see herself as encouraging a kind of uninformed consent: Her insightless patient might be taking powerful, potentially harmful, medication for reasons (such as sound sleep and "peace of mind") that would never medically justify adherence.In my original paper, I suggested that the way out of this dilemma might be to embrace the latter option, while characterizing the very real (and medically based) benefits of treatment adherence in non-medical terms. I now realize that my proposed resolution reflects an oversimplified understanding of what might be called the "practitioner's dilemma." As Michaela Amering (2010) makes clear, the situation for those with mental illness is improving dramatically. With "recovery orientation" as the "guiding principle of mental health policy," the emphasis is on "health promotion, individual strengths, and resilience." The question becomes: Can the practitioner encourage her insightless patient to partake in this "recovery" movement if she does not simultaneously encourage him to embrace a medicalized understanding of his "troubles"?Not obviously. For although a "recovery" model might eschew notions like illness1 and disease, pathology and dysfunction, and even schizophrenia, it will inevitably involve some medical notions. The patient who partakes in the "recovery movement" described by Amering, would seem to have no choice but to accept a model that is essentially medical. Consider the language used by Amering in characterizing that movement. She talks of mental health problems, therapeutic relations, patient self-determination, diagnosis and, of course, recovery. The concepts underlying such language are intrinsic to the patient-oriented movement Amering describes. The question becomes:How can the insightless patient rationally partake in such a movement without embracing some version of the medical model of mental illness? [End Page 85]This question suggests the importance of promoting some kind of insight, even if not insight "into psychosis." At the close of these comments, I consider briefly what such "revisionary" insight might involve.Paradoxes of Conditional and Relinquished AutonomyAutonomy among patients with psychosis presupposes the sort of clear-headedness that arguably comes only with treatment adherence. This may provide some justification for the "coercive treatments" that Anthony (2006) finds so offensive. For patients with psychosis, genuine autonomy is conditional, requiring some degree of insight: Recognition that their "troubles" are at least amenable to medical treatment. Once the patient recognizes this, he can choose freely to decline such treatment (regardless of whether that choice is ultimately respected). Call this the "paradox of conditional autonomy." The conditional nature of autonomy is a familiar point in philosophical discussions regarding free will. There is no genuine freedom without the sort of knowledge required for informed choices. What distinguishes the patient with psychosis from persons more generally is that his autonomy is further conditioned: The knowledge required for autonomous decision making arguably requires some degree of treatment adherence.However, the mentally ill patient has the right, as do all patients, to relinquish autonomy. He may opt for deference to, and dependency on, the relevant experts: Mental health care professionals (Campbell 1994). We are led once again to paradox. To respect the patient's autonomy, the mental health care professional must respect his right to forego autonomy in favor of deference and dependency. This paradoxical situation, involving a kind of deferred autonomy, is not unique to psychiatry but applies to medicine across the board. Indeed, it applies to the human service industry more generally where, as McGorry (1992) suggests, there is an implicit assumption that the service user is to defer to the expertise of the service provider.This assumption is rightly challenged. Suppose Justin and... (shrink)

Robert Stern investigates how scepticism can be countered by using transcendental arguments concerning the necessary conditions for the possibility of experience, language, or thought. He shows that the most damaging sceptical questions concern neither the certainty of our beliefs nor the reliability of our belief-forming methods, but rather how we can justify our beliefs.

A revised edition of an undergraduate text for students in history of psychology courses. Designed for one semester, covers: the history of psychology in ancient philosophy, structuralism, neurophysiology, functionalism, behaviorism, psychoanalysis, and gestalt theories. The new edition has expanded.

This paper develops a view of the content of perceptual states that reflects the cognitive significance those states have for the subject. Perhaps the most important datum for such a theory is the intuition that experiences are ‘transparent’, an intuition promoted by philosophers as diverse as Sartre and Dretske. This paper distinguishes several different transparency theses, and considers which ones are truly supported by the phenomenological data. It is argued that the only thesis supported by the data is much weaker (...) than those typically considered in the literature, and has no obvious implications for the existence of sensory intermediaries. It does, however, have implications for the content of perceptual experience. It is argued that combining the first personal project with the transparency intuition yields an error theory of perception. The counterintuitive implications of this error theory are mitigated, however, by an account of perceptual beliefs which allows for them to be true even if the perceptual states are non-veridical. (shrink)

What is right in the corporation is not what is right in a man's home or in his church," a former vice-president of a large firm observes. "What is right in the corporation is what the guy above you wants from you." Such sentiments pervade American society, from corporate boardrooms to the basement of the White House. In Moral Mazes, Robert Jackall offers an eye-opening account of how corporate managers think the world works, and of how big organizations shape (...) moral consciousnss. Based on extensive interviews with managers at every level of two industrial firms and of a large public relations agency, Moral Mazes takes the reader inside the intricate world of the corporation. It is a world where hard work does not necessarily lead to success, but where sharp talk, self-promotion, powerful patrons, and sheer luck might; where intense competition is masked by cheerfully bland public faces; where intentions are cloaked and frankness is simply one of many guises; and where words are always provisional and accountability often depends on the ability to outrun mistakes. In this topsy-turvy world, managers must bring often unforgiving technology and always difficult people together to make money, an uncompromising task demanding continual compromises with conventional verities. Moral issues are translated into practical concerns and into issues of public relations. Sooner or later, managrs ask themselves: How does one act in such a world and maintain a sense of personal integrity? Moral Mazes is a brilliant, sometimes disturbing, often wildly funny study of corporate thinking, decision-making, and morality. It is an analytical work of great importance, one filled with compelling real life stories of the men and women charged with running the business of America. It is a book for anyone interested in how big organizations actually function, or who is concerned with the current moral malaise in our public life. (shrink)

Many theorists claim that if an agent benefits from an action that harms others, that agent has a moral duty to compensate those who are harmed, even if the agent did not cause the harm herself. In the debate on climate justice, this idea is commonly referred to as the beneficiary-pays principle . This paper argues that the BPP is implausible, both in the context of climate change and as a normative principle more generally. It should therefore be rejected.

Permissivism says that for some propositions and bodies of evidence, there is more than one rationally permissible doxastic attitude that can be taken towards that proposition given the evidence. Some critics of this view argue that it condones, as rationally acceptable, sets of attitudes that manifest an untenable kind of arbitrariness. I begin by providing a new and more detailed explication of what this alleged arbitrariness consists in. I then explain why Miriam Schoenfield’s prima facie promising attempt to answer the (...) Arbitrariness Objection, by appealing to the role of epistemic standards in rational belief formation, fails to resolve the problem. Schoenfield’s strategy is, however, a useful one, and I go on to explain how an alternative form of the standards-based approach to Permissivism – one that emphasizes the significance of the relationship between people’s cognitive abilities and the epistemic standards that they employ – can respond to the arbitrariness objection. (shrink)

Many theorists claim that if an agent benefits from an action that harms others, that agent has a moral duty to compensate those who are harmed, even if the agent did not cause the harm herself. In the debate on climate justice, this idea is commonly referred to as the beneficiary-pays principle. This paper argues that the BPP is implausible, both in the context of climate change and as a normative principle more generally. It should therefore be rejected.

This book is a small handbook designed to give Institutional Review Board (IRB) members the information they need to protect the rights and welfare of research subjects in a way that is both effective and efficient. The chapters of this book are short and to the point. Topic-specific chapters list the criteria IRB members should use to determine how to vote on specific kinds of studies and offer practical advice on what IRB members should do before and during full-committee meetings.

This is a paradigmatic work of contemporary philosophy.

This is the most important book on Hegel to have appeared in the past ten years. Robert Pippin offers a completely new interpretation of Hegel's idealism, which focuses on Hegel's appropriation and development of kant's theoretical project. Hegel is presented neither as a precritical metaphysician nor as a social theorist, but as a critical philosopher whose disagreements with Kant, especially on the issue of intuitions, enrich the idealist arguments against empiricism, realism and naturalism. In the face of the dismissal (...) of absolute idealism as either unintelligible or implausible, Pippin explains and defends an original account of the philosophical basis for Hegel's claims about the historical and social nature of selfconsciousness, and so of knowledge itself. (shrink)