Leslie Graves, Barbara Horan and Alex Rosenberg (1999) have argued that the process of evolution is really deterministic, so we should be instrumentalists about our probabilistic evolutionary theory. I criticize the consistency of their view. I argue that because they are realists towards multiple theories (quantum mechanics and macrophysics) their arguments against realism for another scientific theory fail. The main point of this paper is critical, but in order to set up this criticism I explore the ramifications of realism for (...) multiple theories. Finally, I offer a brief metaphysical justification for realism about multiple theories. This view justifies realism for evolutionary theory, which has been defended by Robert Brandon and Scott Carson (1996). (shrink)

In a number of membrane-bound viruses, ion channels are formed by integral membrane proteins. These channel proteins include M2 from influenza A, NB from influenza B, and, possibly, Vpu from HIV-1. M2 is important in facilitating uncoating of the influenza A viral genome and is the target of amantadine, an anti-influenza drug. The biological roles of NB and Vpu are less certain. In all cases, the protein contains a single transmembrane α-helix close to its N-terminus. Channels can be formed by (...) homo-oligomerization of these proteins, yielding bundles of transmembrane helices that span the membrane and surround a central ion-permeable pore. Molecular modeling may be used to integrate and interpret available experimental data concerning the structure of such transmembrane pores. This has proved successful for the M2 channel domain, where two independently derived models are in agreement with one another, and with solid-state nuclear magnetic resonance (NMR) data. Simulations based on channel models may yield insights into possible ion conduction and selectivity mechanisms. BioEssays 20:992–1000, 1998. © 1998 John Wiley & Sons, Inc. (shrink)

Embryos, cells, genes, and organisms : reflections on the history of evolutionary developmental biology / Manfred D. Laubichler and Jane Maienschein The organismic systems approach : streamlining the naturalistic agenda / Werner Callebaut, Gerd B. Müller, and Stuart A. Newman Complex traits : genetics, development, and evolution / H. Frederik Nijhout Functional and developmental constraints on life-cycle evolution : an attempt on the architecture of constraints / Gerhard Schlosser Legacies of adaptive development / Roger Sansom Evo-devo meets the mind (...) : toward a developmental evolutionary psychology / Paul E. Griffiths Reproducing entrenchments to scaffold culture : the central role of development in cultural evolution / William C. Wimsatt and James R. Griesemer. (shrink)

Reason and Value collects 15 new papers by leading contemporary philosophers on themes from the work of Joseph Raz. Raz has made major contributions in a wide range of areas, including jurisprudence, political philosophy, and the theory of practical reason; but all of his work displays a deep engagement with central themes in moral philosophy. The subtlety and power of Raz's reflections on ethical topics make his writings a fertile source for anyone working in this area. Especially significant are his (...) explorations of the connections between practical reason and the theory of value, which constitute a sustained and penetrating treatment of a set of issues at the very center of moral philosophy as it is practiced today. The contributors to the volume acknowledge the importance of Raz's contributions by engaging critically with his positions and offering independent perspectives on the topics that he has addressed. The volume aims both to honour Raz's accomplishments in the area of ethical theorizing, and to contribute to an enhanced appreciation of the significance of his work for the subject. (shrink)

The Nature of God explores a perennial problem in the philosophy of religion.

Despite All Critique (2014) -- World Politics and Western Reason (1980) -- The Doubled Outsides of the Modern International (2005) -- The Subject of Security (1995) -- The Protection of Nature and the Nature of Protection (2005) -- Social Movements/World Politics (1994) -- Europe is Not Where It is Supposed to Be (2000) -- They Seek it Here, They Seek it There : Looking for Politics in Clayoquot Sound (2003) -- Violence, Modernity, Silence : From Weber to International Relations (1993) (...) -- Hobbes, Origins, Limits (2011) -- War, Terror, Judgement (2002) -- International, Imperial, Exceptional (2005) -- Which Democracy for Which Demos? (2013) -- The Political Theory of Boundaries and the Boundaries of Political Theory : Interview With Raia Prokhovnik (2012). (shrink)

How do we access the authentic self in order to live fulfilling, meaningful lives? In straightforward terms, The Heart of the Matter: Gifts in Strange Wrapping Paper explains a simple but extraordinarily powerful technique called the See, Feel, Hear Challenge that enables people to easily gain entry into the storehouse of their subconscious core beliefs. In the process, it cracks the coded messages that those beliefs release in the form of disease, suffering, addictions, unhappy relationships, and victimized circumstances. Based in (...) the latest findings in neuroscience and neurocardiology, this book guides readers to an uncomplicated understanding of the astounding power of our emotions and how life automatically delivers experiences that trigger negative reactions that subconsciously impact us. These emotions form the foundation of core beliefs that create unhealthy attitudes and dis-ease patterns that keep us from experiencing the authentic, satisfying lives we desire. Using clear examples and true stories from clients, Dr. Weissman’s latest work demonstrates how we can release these stored emotions and their wisdom via the See, Feel, Hear Challenge. It then explains how to use this simple method to evoke feelings that positively impact the quantum field, remolding our bodies, minds, and everyday lives into purposeful expressions of inner joy and radiant well-being. Whether you’re dealing with addictions, dysfunctional relationships, or illness, or are focused on becoming an Olympic champion, The Heart of the Matter gives you a potent tool for positive change and transformation that you can use for the rest of your life. (shrink)

This contribution to the adaptationism debate elaborates the nature of constraints and their importance in evolutionary explanation and argues that the adaptationism debate should be limited to the issue of how to privilege causes in evolutionary explanation. I argue that adaptationist explanations are deeply conceptually dependent on developmental constraints, and explanations that appeal to constraints are dependant on the results of natural selection. I suggest these explanations should be integrated into the framework of historical causal explanation. Each strategy explicitly appeals (...) to some aspect of the evolutionary process, while implicitly appealing to others. Thus, adaptationists and anti-adaptationists can offer complementary causal explanations of the same explanandum. This eliminates much of the adaptationism debate and explains why its adversaries regularly agree with each other more than they would like. The adaptationism issue that remains is a species of the general issue of how to privilege causes in explanation. I show how a proposed solution to this general problem might be brought to bear on evolutionary explanations, and investigate some difficulties that might arise due to the nature of the evolutionary process. (shrink)

Elliot R. Wolfson intervenes in the debate over Martin Heidegger and Nazism from a unique perspective, as a scholar of Jewish mysticism and philosophy who has been profoundly influenced by Heidegger's work. He reveals crucial aspects of Heidegger's thinking that betray an affinity with dimensions of Jewish thought.

One current version of the internalism/externalism debate in evolutionary theory focuses on the relative importance of developmental constraints in evolutionary explanation. The received view of developmental constraints sees them as an internalist concept that tend to be shared across related species as opposed to selective pressures that are not. Thus, to the extent that constraints can explain anything, they can better explain similarity across species, while natural selection is better able to explain their differences. I challenge both of these aspects (...) of the received view and propose a hierarchical view of constraints. (shrink)

Art works provide a unique and influential way to teach human virtues because they can place individuals (or particular artistic expressions) within the ambiguities, complexities, and forces of the human experience. I use four art works to teach about the virtue of kindness: Giotto di Bondonie's Scene 2: St. Francis Giving His Mantle to a Poor Man; Bishop Charles Francois in Victor Hugo's Les Misérables; Adam in William Shakespeare's As You Like It; and Sonya in Fyodor Dostoevsky's Crime and Punishment. (...) In these four examples, we see necessary characteristics of being a kind person: supererogatory behavior, altruistic behavior, a display of the way the world ought to be, and the presence of a kind soul. (shrink)

This book focuses upon the perennial question of the existence and nature of an obligation to obey the law. Leading writers have, at one time or another, emphasized considerations such as gratitude, 'divine ordering, ' prudence, contract, autonomy, and utility in seeking to justify, or to deny any justification for, some sort of obligation to obey the positive law. The book provides relevant selections from a sampling of the historical approaches to legal obligation taken by writers such as Plato, Augustine, (...) Aquinas, Hobbes, Locke, Hume, Rousseau, Thoreau, Bentham, Marx and Engels, and Martin Luther King, Jr. These classical discussions are augmented by critical questions and commentary, by independent discussions of the question of legal obligation by a wide range of contemporary writers, and by relevant judicial cases discussing matters such as conscientious objection and civil disobedience. (shrink)

Understanding the operation and evolution of gene regulation networks is critical to understanding ontogeny and evolution. According to Stuart Kauffman's view, (1) each cell type cycles through its own repeated pattern of gene expression, (2) the order of ontogeny is dependent on these cycles being short, and (3) evolution is possible because these cycles mutate gradually. This view of gene regulation reflects Kauffman's view that ontogeny is fundamentally the process of cells repeating cycles of activity. I criticize Kauffman's view of (...) gene regulation networks and offer the connectionist theory of gene regulation as an alternative. On this view, the generic order of gene regulation mechanisms is due to the qualitatively consistent way that one gene product influences the expression of another. This allows networks to be stable and evolve to regulate accurately, allowing cells to react appropriately to their microenvironments, due to design by natural selection. 1. Introduction2. Kauffman's Model of Gene Regulation3. Explaining the Order of Kauffman's K = 2 Networks4. The Importance and Relevance of Kauffman's Explanations of the Order of Gene Regulation5. Additional Orderly Facts of Transcription6. The Order of Network Accuracy7. The Accuracy of Connectionist Networks8. The Evolvability of Gene Regulation Networks9. Laws of Structure. (shrink)

I show that gene regulation networks are qualitatively consistent and therefore sufficiently similar to linearly seperable connectionist networks to warrant that the connectionist framework be applied to gene regulation. On this view, natural selection designs gene regulation networks to overcome the difficulty of development. I offer some general lessons about their evolvability that can be learned by examining the generic features of connectionist networks.

: Tolstoy critiques the assumption one can live a meaningful life merely by following social conventions. Though they may give a semblance of control, they do not prepare one to face mortality. Compassion for others enables one to transmute a preoccupation with filling one's preferences and desires to an appreciation of others and one's individuality. In telling of Ivan's death, Tolstoy shows the ineffectiveness of the practice of medicine and marriage when they are treated only as conventions.

The concept of yinyang lies at the heart of Chinese thought and culture. The relationship between these two opposing, yet mutually dependent, forces is symbolized in the familiar black and white symbol that has become an icon in popular culture across the world. The real significance of yinyang is, however, more complex and subtle. This brilliant and comprehensive analysis by one of the leading authorities in the field captures the richness and multiplicity of the meanings and applications of yinyang, including (...) its visual presentations. Through a vast range of historical and textual sources, the book examines the scope and role of yinyang, the philosophical significance of its various layers of meanings and its relation to numerous schools and traditions within Chinese philosophy. By putting yinyang on a secure and clear philosophical footing, the book roots the concept in the original Chinese idiom, distancing it from Western assumptions, frameworks and terms, yet also seeking to connect its analysis to shared cross-cultural philosophical concerns. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning from Art:Cormac McCarthy's Blood Meridian as a Critique of Divine DeterminismDennis Sansom (bio)Art's Critique of PhilosophyWe usually think the critic's role belongs to philosophy. That is, to understand art's essential characteristics and why and how we appreciate art, we need a philosophical explanation. Though our tastes for art are unique and personal, we typically think that to understand art we must first explain it. For example, Plato (...) thought he could explain art as an emotional inspiration for people, at best, or, at worse, a distortion of intelligible truths; therefore, according to Plato, art should be dismissed or censored in a society seeking social justice derived from the idea of justice. Aristotle understood art to be the imitation of nature; as an imitation, it needs clarification according to the purposes of nature, and philosophy clarifies these purposes. In either case, art needs to be critiqued by philosophy. It is customary to hear philosophical critics lecture on art rather than artists lecture on philosophy.But can art critique philosophy? Is it possible for art to provide a scrutiny of philosophy that perhaps a particular philosophy cannot give itself? I think art can provide this critique by using a feature that some philosophers have thought to be art's limitation to clear reasoning—the imagination. Though philosophers like John Dewey recognize the importance and influence of imagination on our moral and aesthetical orientation to the world of experience, typically Thomas Hobbes's view of imagination prevails in the empiricist-leaning philosophers (for instance, David Hume and Bertrand Russell): the imagination is about image recollection and hence necessary for connecting our ideas to empirical experiences. But for this latter approach, the imagination does not inform us about the world; rather it only bridges experience to abstract ideas. What is important, then, is proper understanding. For this approach, the main question is, Can we explain the world based upon our clearest account of the role of understanding? [End Page 1] Whether this account relies upon a psychological model of the brain's workings, a scientific model of successful theory formation, or a logical model reflective of truth relation possibilities, we need philosophy to clarify how we gain knowledge, even in art.Yet, this approach shortchanges analysis. Psychology, empirical science, and logic are not the only ways to analyze an idea. If a philosophy pretends to explain our experience of the world, then the philosophy opens itself to this question: Is the idea worth holding to be true according to our experiences of the world? A philosophical claim may be logically consistent, based upon generalizations of experience, and be coherent with acceptable views of God, the self, or morality, but if we envision the claim lived out within our experience of the world, would we want to accept it? Is it the kind of life we would want? It takes imagination to answer these questions, and the artist through her or his unique technique and representation can test the existential worth of an idea.Hobbes's description of the imagination represents only one way to explain it. Imagination is more than an act of memory and recollection. It is also reconstruction. John Dewey's definition highlights this role: "An imaginative experience is what happens when varied materials of sense quality, emotion, and meaning come together in a union that marks a new birth in the world."1 Imagination is always an interpretation of what the world could look like. It not only mirrors but heightens experience to focus on a certain viewpoint about the possible meaning of life. By doing this, the imagination enables us to explore whether certain ideas are worth keeping. That is, if we could picture living this way, would we want to live it?Because imagination occupies a central role in artistic creativity, art provides a useful means of analyzing philosophical claims about the world. Though a philosopher may be able to present an idea that is logically consistent, clear in its categories of quantity, quality, being, modality, and so on, explicit in all its assumptions, and even "clear and distinct," when the idea is imagined in life situations, it can lose its... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning from Art:Cormac McCarthy's Blood Meridian as a Critique of Divine DeterminismDennis Sansom (bio)Art's Critique of PhilosophyWe usually think the critic's role belongs to philosophy. That is, to understand art's essential characteristics and why and how we appreciate art, we need a philosophical explanation. Though our tastes for art are unique and personal, we typically think that to understand art we must first explain it. For example, Plato (...) thought he could explain art as an emotional inspiration for people, at best, or, at worse, a distortion of intelligible truths; therefore, according to Plato, art should be dismissed or censored in a society seeking social justice derived from the idea of justice. Aristotle understood art to be the imitation of nature; as an imitation, it needs clarification according to the purposes of nature, and philosophy clarifies these purposes. In either case, art needs to be critiqued by philosophy. It is customary to hear philosophical critics lecture on art rather than artists lecture on philosophy.But can art critique philosophy? Is it possible for art to provide a scrutiny of philosophy that perhaps a particular philosophy cannot give itself? I think art can provide this critique by using a feature that some philosophers have thought to be art's limitation to clear reasoning—the imagination. Though philosophers like John Dewey recognize the importance and influence of imagination on our moral and aesthetical orientation to the world of experience, typically Thomas Hobbes's view of imagination prevails in the empiricist-leaning philosophers (for instance, David Hume and Bertrand Russell): the imagination is about image recollection and hence necessary for connecting our ideas to empirical experiences. But for this latter approach, the imagination does not inform us about the world; rather it only bridges experience to abstract ideas. What is important, then, is proper understanding. For this approach, the main question is, Can we explain the world based upon our clearest account of the role of understanding? [End Page 1] Whether this account relies upon a psychological model of the brain's workings, a scientific model of successful theory formation, or a logical model reflective of truth relation possibilities, we need philosophy to clarify how we gain knowledge, even in art.Yet, this approach shortchanges analysis. Psychology, empirical science, and logic are not the only ways to analyze an idea. If a philosophy pretends to explain our experience of the world, then the philosophy opens itself to this question: Is the idea worth holding to be true according to our experiences of the world? A philosophical claim may be logically consistent, based upon generalizations of experience, and be coherent with acceptable views of God, the self, or morality, but if we envision the claim lived out within our experience of the world, would we want to accept it? Is it the kind of life we would want? It takes imagination to answer these questions, and the artist through her or his unique technique and representation can test the existential worth of an idea.Hobbes's description of the imagination represents only one way to explain it. Imagination is more than an act of memory and recollection. It is also reconstruction. John Dewey's definition highlights this role: "An imaginative experience is what happens when varied materials of sense quality, emotion, and meaning come together in a union that marks a new birth in the world."1 Imagination is always an interpretation of what the world could look like. It not only mirrors but heightens experience to focus on a certain viewpoint about the possible meaning of life. By doing this, the imagination enables us to explore whether certain ideas are worth keeping. That is, if we could picture living this way, would we want to live it?Because imagination occupies a central role in artistic creativity, art provides a useful means of analyzing philosophical claims about the world. Though a philosopher may be able to present an idea that is logically consistent, clear in its categories of quantity, quality, being, modality, and so on, explicit in all its assumptions, and even "clear and distinct," when the idea is imagined in life situations, it can lose its... (shrink)

The unificationist theory of causal explanation offers a theory of causation and explanation with no causal primitives. Kitcher proposed that it offered an account of explanatory asymmetry, but his proposal has been criticized for being too dependent on contingent facts and surreptitiously supposing causal realism. In addition, critics have argued that unificationism cannot account for asymmetry in a world with symmetric laws of physics and is lead to accept backwards explanation in certain epistemic situations. Unificationism has been defended from some (...) of these objections. We critique those defenses, rejecting some and developing others, as well as adding new ones. In doing so, we argue that objectors are wrong to treat explanatory asymmetry as an a priori matter and that unificationism is appropriately sensitive to the right sort of empirical facts. (shrink)

I have two aims. I want to show first that a proper understanding and use of irony can enrich the aesthetic imagination and, second, that Søren Kierkegaard's description of irony rather than Richard Rorty's better explains how irony enriches the aesthetic imagination. The paper's central claim is that aesthetic imagination springs from experiencing the necessary tension between appearances and reality and that irony, correctly employed, accentuates in our thinking the imagination required to keep this tension in our representations, thereby enabling (...) the aesthetic imagination to grow.Immanuel Kant claims that the aesthetic judgment is an act of the imagination, not of the understanding: In order to distinguish... (shrink)

Empirical advances in biology led to the popularity of a view known as gene selectionism, most recently championed by Richard Dawkins' "The Selfish Gene" . On this view, natural selection "looked through" the organism right to the genome; evolution was a change in the genomes of a species over time and the process of development is rendered epiphenominal to that process. Recently, support for gene selectionism has waned in favor of a pluralistic view. On this view, natural selection operates at (...) many different levels, including: genes, traits of organisms, organisms, groups, species and clades. Because the process of development occurs at many of these levels, a complete understanding of evolution will include an understanding of the developmental process. This dissertation is a contribution to the integration of evolution and development that has become known as the developmental synthesis. ;I argue that the adaptationism debate has raged for so long because it is based on an incoherent picture of the world, according to which, some traits are due to natural selection and others are due to constraints. In fact, all traits are due to both natural selection and constraints. Whether we explain a trait in terms of natural selection or constraints is a matter of pragmatics. Evolutionary explanations are causal explanations and different types of evolutionary explanations appeal to different aspects of the evolutionary process. ;I also offer two general theories on how natural selection can design organisms capable of complex development. The first focuses on the nature of gene control networks. I argue that they are connectionist networks designed by natural selection to overcome the difficulty of development. The second focuses on the evolvability of ontogeny. I argue that ontogeny can be designed by natural selection for increased evolvability, primarily through designed functional modularity. (shrink)

If one of the purposes of an ethic is to help order our lives in a way we would think is fulfilling and purposeful, then with it, we should be able to learn about the significance of life in the experience of death. Not all well-known ethical theories can deliver this. Though preferential utilitarianism and duty-based deontological ethics are attractive as theoretical ways to order our lives, they fall short as useful ethical approaches before the humbling effects of death. Can (...) the experience of death teach us something about the importance of life and how to formulate an ethic to live meaningfully while alive? I think it can, and we can learn from art to do this. To make this case, I examine three ways in .. (shrink)

Pompey does not accept defeat at Pharsalus. Rather, in an effort to gain support from powers beyond Rome, he makes for Egypt and, unbeknownst to him, his decapitation. As narrated in Lucan'sBellum ciuile, after deliberating in Cilicia with his senatorial advisers (8.259–455), Pompey stops at the island of Cyprus (8.456–9):tum Cilicum liquere solum Cyproque citatasimmisere rates, nullas cui praetulit arasundae diua memor Paphiae, si numina nascicredimus aut quemquam fas est coepisse deorum.Then they left the Cilician soil and steered their vessels (...) in haste for Cyprus—Cyprus which the goddess, mindful of Paphian waves, prefers to any of her shrines (if we believe that deities have birth, or if it is lawful to hold that any of the gods had a beginning).In Lucan, Pompey's trip to Cyprus is brief and includes a somewhat curious reference to Venus (diua), her origins (undae … Paphiae) and the birth of the gods. Other authors also record Pompey's visit to Cyprus, although the details vary. Some, including Julius Caesar, set his deliberations not in Cilicia but on Cyprus itself (Caes.BCiu.3.102.3.1–8.1; cf. Plut.Vit. Pomp. 77.1.1–2.1). Others, it seems, provide few if any details of Pompey at the island, for example the scanty evidence from Livy,Per. 112.1–10. (shrink)