The Supreme Court’s decision in New York State Rifle & Pistol Association Inc. v. Bruen undermines the ability of cities and states to regulate firearms safety. Nonetheless, we remain hopeful that firearm violence can decline even after the Bruen decision. Several promising public health approaches have gained broader adoption in recent years. This essay examines the key drivers of community firearm violence and reviews promising strategies to reverse those conditions, including community violence intervention (CVI) programs and place-based and structural interventions.

The history of Western philosophy and science is marked by numerous moments when a major development has emerged from conditions that are manifestly adverse to intellectual activity. This book surveys a wide range of cases, and considers how these achievements were possible and how adversity helped shape the ideas that emerged.

Preface LITERARY FORM, PHILOSOPHICAL CONTENT: HISTORICAL STUDIES OF PHILO- sophical Genres aims at a wide audience and is intended to be serviceable for ...

All parties involved in researching, developing, manufacturing, and distributing COVID-19 vaccines need guidance on their ethical obligations. We focus on pharmaceutical companies' obligations because their capacities to research, develop, manufacture, and distribute vaccines make them uniquely placed for stemming the pandemic. We argue that an ethical approach to COVID-19 vaccine production and distribution should satisfy four uncontroversial principles: optimising vaccine production, including development, testing, and manufacturing; fair distribution; sustainability; and accountability. All parties' obligations should be coordinated and mutually consistent. For (...) instance, companies should not be obligated to provide host countries with additional booster shots at the expense of fulfilling bilateral contracts with countries in which there are surges. Finally, any satisfactory approach should include mechanisms for assurance that all parties are honouring their obligations. This assurance enables countries, pharmaceutical companies, global organisations, and others to verify compliance with the chosen approach and protect ethically compliant stakeholders from being unfairly exploited by unethical behaviour of others. (shrink)

How may a society, in a morally defensible way, confront a past of injustice and suffering, and seek to break the spell of violence and disregard for human life? I begin by demonstrating the relevance of this question to the South African Truth and Reconciliation Commission, and I draw attention to André du Toit's long- standing interest in ways in which truth commissions may function to consolidate political change. In the second section of the article, I argue that truth commissions (...) should be regarded as a defensible moral compromise between the values of justice and social unity, and I criticize claims that truth commissions promote transitional justice, when that is understood as a distinctive conception of justice that emerges in circum stances of regime transition. In the third section, I criticize the claim that truth commissions are not a moral compromise at all but embody a superior, restorative conception of justice. I conclude by showing why retribution is required by criminal justice, and why truth commissions must be seen, not as an end in themselves, but as institutions whose function is to emphasize the importance of the rule of law, normal criminal justice, and legal recognition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Biting the Bullet:The Ethics and Aesthetics of ViolenceJonathan AllenThe Bullet's Song: Romantic Violence and Utopia, by William Pfaff. New York. Simon & Schuster, 2004, 368 pp.Regarding the Pain of Others, by Susan Sontag. New York, Picador, 2003, 131 pp.In the nineteenth century a broadly influential branch of Romantic philosophy insisted that goodness and beauty were intimately related. The goals of ethical and aesthetic education were taken to be one (...) and the same—the cultivation of the kalokagathos or "noble-and-beautiful" individual.1 This robust view of the relation between ethical and aesthetic education is now rarely defended; it was dealt a mortal wound by the inconvenient fact that highly cultured or Gebildete individuals have been implicated in the twentieth century's worst political crimes.This does not mean, however, that connections between ethical and aesthetic projects are no longer made. One such attempt to relate ethics and aesthetic—a bleak, somber, and deeply chastened attempt—is presented in the late Susan Sontag's Regarding the Pain of Others. In this small but dense book, Sontag assesses the hope that the reproduction of images, especially photographic images, of violence and atrocity might help to abolish war, or at least to play a role in combating genocide or the commission of gross violations of the laws of war. While she evidently wishes to find "an antidote to the perennial seductiveness of war," Sontag is doubtful that photography is equal to this moral burden.2Sontag's work concentrates on the aesthetic and ethical challenges that confront any attempt to convey the horrors of war to uninvolved observers. Her focus is thus trained on an attempt to exorcise what she refers to as the "seductiveness of war"; she is not primarily concerned to identify the source of war's allure (though she does have some interesting observations to make on the issue).3 William Pfaff, by contrast, is both repelled and fascinated by the modern embrace of violence. The Bullet's Song: Romantic Violence and Utopia offers an enthralling account of the intellectual and aesthetic forces that provoked the feverish modern love affair with violence and war. Pfaff is at least as doubtful as Sontag, however, that that love affair [End Page 100] is over and that we are in a position to forge a more pacific sensibility. Nevertheless, he insists that if we are to have the slightest hope of avoiding a full-scale repetition of the twentieth-century's "carnival of inhumanity," we need to understand the nature of its romance with violence.So how did that romance come about? The central theme of The Bullet's Song is the consequences of the loss of "chivalry." This, according to Pfaff, was a code that "held that what an individual or society could licitly do to another was limited by a morality linked to the essential values of Western civilization."4 Within this framework, it was expected that states would sometimes go to war with one another, but war was seen merely as an extreme means of settling disputes, not of eliminating entire societies or remaking the world. For individuals, war was presented as "a test of valor, rewarded by 'honor'"—in other words, it was seen as an occasion to test oneself in the light of a set of ideals of conduct that operated as constraints on permissible behavior in war.5 All of this came to a sticky end in the trenches of World War I, replaced by a morally nihilistic idea of total war. Pfaff claims that this moral vacuum proved intolerable to many individuals. They reacted in several different ways. Some attempted to construct "codes of individual transcendence" and "collective will," while others gave themselves over to "utopias based on historical fictions."6This is a very large story, and it is in fact too bulky for the confines of this book. First, it must be said that Pfaff fails to present his central claims clearly. He is unclear, for example, as to exactly what was lost with the destruction of the chivalric code, as well as what caused its destruction. At times, he seems to be suggesting that the rise of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Dark Arts of Politics:Aesthetics and Engineering in Nazism and FascismJonathan AllenThe Cult of Art in Nazi Germany, by Eric Michaud, translated by Janet Lloyd. Stanford: Stanford University Press, 2004, 271 pp.Building Fascism, Communism, and Liberal Democracy: Gaetano Ciocca—Architect, Inventor, Farmer, Writer, Engineer, by Jeffrey T. Schnapp. Stanford: Stanford University Press, 2004, 291 pp.Despite their obvious centrality to the history of the twentieth century, sixty years after the defeat (...) of the Axis powers fascism and Nazism remain elusive phenomena, hard to define with any real clarity. Scholars wrangle not only over the identification of their central characteristics but also over whether the similarities between fascism and Nazism are close enough to justify considering them as parts of a single category. A growing number of studies, however, ranging from general histories such as Norman Davies's Europe: A History and Mark Mazower's Dark Continent: Europe's Twentieth Century, to more specialized works such as Zeev Sternhell's Neither Left Nor Right and Robert Paxton's fine The Anatomy of Fascism, argue the case for treating fascism and Nazism together.1 A mark of all of these books is their willingness to give serious attention to fascist ideologies and to the interactions between these ideologies and fascist practice and culture. This interest, in turn, makes it necessary to examine anew broader questions about the relations between fascism and the circumstances and attitudes of modern life.The two works under consideration here—The Cult of Art in Nazi Germany, by Eric Michaud, and Building Fascism, Communism, and Liberal Democracy, by Jeffrey T. Schnapp—share the growing concern to take seriously fascist ideology and culture as essential to an understanding of the movement. Michaud sets out to present an analysis of Nazi myth, which he argues was constructed with reference to two models: art and Christianity (xii). His immensely erudite study relates Nazi conceptions of the leader to Romantic views of genius and Christian doctrines concerning the role of the Savior. This allows him to present a distinctive view of Nazi ideology, one that relates it to themes and debates that have figured prominently in the history of European culture and belief. [End Page 113]Schnapp, on the other hand, focuses on the career of a single man—Gaetano Ciocca. Though Ciocca is now an obscure figure, unlikely to be familiar even to most students of fascism, Schnapp argues that his career deserves attention for several reasons. In the first place, he "strove to translate a fascist politics into the language of modern technics in the domains of architecture, urbanism, theater design, animal husbandry, drainage and transportation systems" (7). What is more, Ciocca was no power-hungry opportunist but rather a committed and reflective intellectual, who spent much of his time writing books and articles aimed at explaining and justifying his various projects to a general audience. Last but not least, though Ciocca's passionate commitment to fascism cooled as World War II wore on, this had no visible effect on his engineering projects. In the aftermath of the war, Ciocca presented himself as a nonpolitical "rebuilder" concerned to provide for popular need. In this guise, he served Italy's postwar liberal democracy as enthusiastically as he had previously devoted his projects to the cause of fascism. Ciocca thus presents us with an intriguing puzzle: a committed and reflective fascist intellectual—no Eichmann, Schnapp insists—who was nevertheless able to function equally effectively after the demise of the fascist regime. Schnapp argues that Ciocca's career forces us to examine with care the complex relations between technologies and political ideologies. In fact, I think it compels us to consider more general questions about the extent to which Ciocca's conception of himself as a modernizing technocrat could be equally at home in the political contexts of fascism and a certain kind of elite-centered liberal democracy. Schnapp hints at this issue at several moments but does not address it in a sustained way.Though there have been some notable exceptions, most studies of Nazism in particular have tended to gravitate toward one of two explanatory options. The first, more common in philosophical circles, has been to view... (shrink)

This article addresses the question whether the model of social criticism as 'connected' or 'loyal' which is advanced by Richard Rorty and Michael Walzer offers an adequate picture of social criticism. Two claims are made. First, it is suggested that loyalty is an internally conflicted concept, with three components: a recognition of situatedness in a particular relationship; an affirmation of that relationship by the loyal agent; a set of values or local principles. Where the third component is prominent, loyalty is (...) more reflective and distanced; where the second component predominates, loyalty slips into unreflective commitment. Second, it is argued that Rorty and Walzer conflate the social critic's recognition of his or her situatedness in contexts of power with the affirmation of that situatedness. It is concluded that the model of loyal social criticism is mislead mg, and that the practice of the critic must be tempered by the operation of the sense of injustice. Key Words: connection • loyalty • Rorty • social criticism • Walzer. (shrink)

Devotion to the Prophet Muḥammad was a major feature of late medieval and early modern Islamic religious life across much of the Islamic world. The history of this devotion remains understudied in relation to its importance and pervasiveness. This study takes as its locus of analysis a particular instance of early modern devotion: a weekly, public all-night session of ṣalawāt upon the Prophet that would become known as the maḥyā. Developed by the peasant-turned-shaykh Nūr al-Dīn al-Shūnī in late Mamluk Egypt, (...) performance of the maḥyā would spread over the following century throughout the Arab Ottoman world, undergoing changes, provoking controversy, and becoming embedded in the sacred spaces and ritual life of one city after another. I approach the history of the maḥyā as a discrete and legible instance of ritual change in an Islamic context, exploring this instance of communal devotion to the Prophet through such lenses as ritual studies and the spatial turn, examining the intersection of this devotional ritual with practices of subjectivity, the use and contestation of ritual space, and the meaning, regulation, and experience of the night. (shrink)

How can computer professionals shape the future of new computing technologies? Using the recent history of handheld computers as an example, this paper investigates how computer professionals can shape the future by helping to define what new technologies should be. Computer professionals can play a variety of roles in creating, maintaining, and questioning problem framings, or the basic assumptions about what problem a new technology is trying to solve. In addition to political activism and professional ethics, computer professionals need to (...) reflect on the process of defining new technological directions, and how they can help shape technology development into outcomes they believe in. (shrink)

Monoclonal antibodies are essential biomedical research and clinical reagents that are produced by companies and research laboratories. The NIAID ImmPort (Immunology Database and Analysis Portal) resource provides a long-term, sustainable data warehouse for immunological data generated by NIAID, DAIT and DMID funded investigators for data archiving and re-use. A variety of immunological data is generated using techniques that rely upon monoclonal antibody reagents, including flow cytometry, immunofluorescence, and ELISA. In order to facilitate querying, integration, and reuse of data, standardized terminology (...) for describing monoclonal antibody reagents and their targets needs to be used for annotating data submitted to ImmPort. (shrink)

In this article, we propose the Fair Priority Model for COVID-19 vaccine distribution, and emphasize three fundamental values we believe should be considered when distributing a COVID-19 vaccine among countries: Benefiting people and limiting harm, prioritizing the disadvantaged, and equal moral concern for all individuals. The Priority Model addresses these values by focusing on mitigating three types of harms caused by COVID-19: death and permanent organ damage, indirect health consequences, such as health care system strain and stress, as well as (...) economic destruction. It proposes proceeding in three phases: the first addresses premature death, the second long-term health issues and economic harms, and the third aims to contain viral transmission fully and restore pre-pandemic activity. -/- To those who may deem an ethical framework irrelevant because of the belief that many countries will pursue "vaccine nationalism," we argue such a framework still has broad relevance. Reasonable national partiality would permit countries to focus on vaccine distribution within their borders up until the rate of transmission is below 1, at which point there would not be sufficient vaccine-preventable harm to justify retaining a vaccine. When a government reaches the limit of national partiality, it should release vaccines for other countries. -/- We also argue against two other recent proposals. Distributing a vaccine proportional to a country's population mistakenly assumes that equality requires treating differently situated countries identically. Prioritizing countries according to the number of front-line health care workers, the proportion of the population over 65, and the number of people with comorbidities within each country may exacerbate disadvantage and end up giving the vaccine in large part to wealthy nations. (shrink)

This chapter first identifies what is extremely valuable and distinctive in the approach to Ethics Glover takes in Humanity. It then goes on to argue that Glover's approach is incomplete, because it is insufficiently empirical and, more importantly because it lacks a conceptual framework capable of identifying the full range of topics for empirically informed Ethics research. The needed conceptual framework must incorporate social moral epistemology, which focuses on the interaction between the moral‐epistemic virtues and vices of individuals and the (...) moral‐epistemic functions of institutions. Through the use of historical examples of the sort Glover appeals to in Humanity, this chapter shows that work in Ethics must pay more attention to the ethics of believing and to the role that institutions play in the formation of systems of belief. (shrink)

Environmental changes can bear upon the environmental virtues, having effects not only on the conditions of their application but also altering the concepts themselves. I argue that impending radical changes in global climate will likely precipitate significant changes in the dominate world culture of consumerism and then consider how these changes could alter the moral landscape, particularly culturally thick conceptions of the environmental virtues. According to Jonathan Lear, as the last principal chief of the Crow Nation, Plenty Coups exhibited (...) the virtue of “radical hope,” a novel form of courage appropriate to a culture in crisis. I explore what radical hope may look like today, arguing how it should broadly affect our environmental character and that a framework for future environmental virtues will involve a diminished place for valuing naturalness as autonomy from human interference. (shrink)

Gerald Cohen, known as Jerry, was Chichele Professor of Social and Political Thought at Oxford University and then Quain Professor of Jurisprudence at University College London. He was a Fellow of the British Academy whose book Karl Marx's Theory of History: a Defence won the Isaac Deutcher Memorial Prize. Obituary by Jonathan Wolff.

At the age of 15 I began calling myself an atheist. It was bad timing because the next year, in English class, I read Waiting for Godot and plunged into a philosophical depression. This was not a clinical depression with thoughts of personal worthlessness and a yearning for death. It was, rather, the kind of funk that Woody Allen’s characters were so prone to in his early movies. For example, in Annie Hall, a flashback shows us a nine-year-old (...) class='Hi'>Allen-esque boy being asked by a doctor why he is depressed. The boy’s response is that he had recently learned that the universe will expand forever and someday break apart. He saw no further point in doing homework, despite his mother’s protestations that Brooklyn was not expanding. After reading Godot, I felt the same way. If there was no God then my life, and all life, suddenly seemed to be as pointless as the lives of Vladimir and Estragon. Here, for example, is the quote I chose later that year to place under my picture in my high school yearbook: “Whosoever shall not fall by the sword or by famine, shall fall by pestilence, so why bother shaving?” The quote is from Woody Allen[1]. The next year I went to college. I was committed to figuring out the meaning of life and I thought that studying philosophy would help. I was disappointed. Philosophy addressed many fundamental questions of being and knowing, but the question “What is the meaning of life?” never came up. I assumed it was a badly formed question, and I moved on. I went to graduate school in psychology. If only I had been able to read Susan Wolf back then! She clarifies the question so elegantly, and she points to the means by which each of us can answer it for ourselves: go find something to love, something worthy of love, that you can link to and engage with in the right sort of way. It took me a while to do that, but I eventually did, as so many of us have, both by committing to people and by committing to my work. My remaining comments flow from that work, which ended up bringing me, by a roundabout route, back to the question of the meaning of life.. (shrink)

In this paper I reply to two sets of criticisms—a first from Joshua Gert, and a second from Keith Allen—of the relationalist view of color developed and defended in my book, The Red and the Real: An Essay on Color Ontology.

Religion and the Rise of Modern Culture by Louis Dupré; The Theological Origins of Modernity by Michael Allen Gillespie.

_ Causal Powers _By JacobsJonathan D.Oxford University Press, 2017. xii + 232 pp.

Domination consists in subjection to the will of others and manifests itself both as a personal relation and a structural phenomenon serving as the context for relations of power. Domination has again become a central political concern through the revival of the republican tradition of political thought . However, normative debates about domination have mostly remained limited to the context of domestic politics. Also, the republican debate has not taken into account alternative ways of conceptualizing domination. Critical theorists, liberals, feminists, (...) critical race theorists, and postcolonial writers have discussed domination in different ways, focusing on such problems as imperialism, racism, and the subjection of indigenous peoples. This volume extends debates about domination to the global level and considers how other streams in political theory and nearby disciplines enrich, expand upon, and critique the republican tradition’s contributions to the debate. This volume brings together, for the first time, mostly original pieces on domination and global political justice by some of this generation’s most prominent scholars, including Philip Pettit, James Bohman, Rainer Forst, Amy Allen, John McCormick, Thomas McCarthy, Charles Mills, Duncan Ivison, John Maynor, Terry Macdonald, Stefan Gosepath, and Hauke Brunkhorst. -/- Front matter and First chapter available for download. (shrink)

This paper considers two accounts of the way that colours are represented in perception, thought, and language that are consistent with relationalist theories of colour: Jonathan Cohen’s contextualist semantics for colour ascriptions, and Andy Egan’s suggestion that colour ascriptions have self-locating contents. I argue that colours are not represented in perception, thought, or language as mind-dependent relational properties.

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

Wisely, the authors begin this book by describing it as a polemic. They argue that most contemporary analytic metaphysics is a waste of time and resources since contemporary ‘neo-scholastic’ metaphysical theorizing cannot hope to attain objective truth given its penchant for making a priori claims about the nature of the world which are backed up by appeal to intuition. In engaging in this activity, metaphysicians have, the authors claim, abandoned hope of locating any interesting connection between their metaphysical pronouncements and (...) how our best empirical theories describe the world. Moreover, the success attained by empirical science just cannot be matched by metaphysical theorizing and so, faced with this asymmetry, empirical science wins: a priori metaphysical theorizing must give way to a naturalistic form of metaphysics, a positive account of which the authors attempt to elucidate in the second and third, rather lengthy chapters of the book.The first chapter consists of a statement of the authors’ negative view, a vigorous, sustained and sometimes withering attack upon contemporary a priori metaphysics. Most ire is reserved for those who indulge in what the authors call ‘pseudo-scientific metaphysics’; that is, those who pay lip service to keeping their metaphysical speculation in tune with physics, only to constrain their ontology in such a way that the entities and processes within it do not even play a role in current physical theory, or are in straightforward contradiction with it. Much philosophy of science and scientific metaphysics is too superficial and simplistic to deserve the name and bears more relation to ‘the philosophy of “A” Level chemistry’. The guilty in this respect include David Lewis, Jaegwon Kim, Jonathan Lowe, Donald Davidson, Jerry Fodor, Crawford Elder, Trenton Merricks among …. (shrink)

It would appear, judging from the evidence provided by Jonathan Rée in the first chapter of this extraordinary book, that the first work of philosophy in the English language was The Rule of Reason...