Focusing on the plurality of irreconcilable conceptions of social and political justice, this book presents an array of new perspectives on the topic of distributive justice. Bringing together 30 original essays of well-established and young international scholars, the volume is essential reading for anyone interested in social and political justice.

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

This essay explores claims made frequently by artists, critics, and philosophers that artworks bear personifying traits. Rejecting the notion that artists possess the Pygmalion-like power to bring works of art to life, the article looks seriously at how parallels may exist between the ontological structures of the artwork and human personhood. The discussion focuses on Arthur Danto’s claim that the “artworld” itself manifests properties that are an imprint of the historical representation of the “world.” These “world” representations are implicitly embodied (...) in the artist’s style. The “world” that is stamped on the people of a historical period entails a point of view that influences how they might act, something like the logic that guides a conversation. This “conversational” logic is also extant in the artworks that artists of a given period create. This analysis of Danto’s account of how people are connected to their world clarifies Danto’s assertions that a parallel structure of personification in the artwork and the human exists. It also explains his claims that artworks themselves appear to be in a kind of dialogue. (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role the artistic metaphor (...) plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...) a transitory mode of mind, a vehicle, which aims to raise spirit to the higher cognition of philosophy. When the unfolding absolute concept becomes too complex for articulation in the material, art must end, as spirit’s message can be expressed only through the non-material form of philosophy. This study focuses on the ambivalence found in Hegel’s writings regarding his account of historical completion. Though Hegel sees in the Absolute a metaphysical solution to the unity of subject and object, the practical aspects of the unity appear to falter when philosophy becomes the dominant mode of expression at the close of a historical cycle. In Lectures on the History of Philosophy, Hegel links his notion of the Absolute, albeit with modification, to Aristotle’s nous. As described in De Anima, this entails a progression in which active and possible intellect rise to the level of the eternal, while passive intellect, the imaginative element, passes on with the body. Because the architecture of Aristotle’s nous, which is not in line with his defense of poetry, is integrated into the blueprint of Hegel’s absolute, an unresolved tension emerges in the spirit of art. A divergence of aims is forced to the surface through Hegel’s application of a template for achievement of theoretical knowledge, with an end in the universal, to a form of practical knowing which has an end in the particular. (shrink)

This paper investigates Danto’s claims that the narrative of art is over. In this state, which Danto sees as ideal, art is free from any master narrative, and its direction cannot be predicted. The claim that art ought to remain in its current state—pluralistic, free and with no further historical development—is problematic. Danto is correct that late 20th c. art could not be explained through a single narrative, and the myriad forms art takes demonstrate its pluralism. But Danto’s claim that (...) freedom is the outcome of inexplicability, and progress is measured by amenability to narrative, does not follow. Based on Gombrich’s theory of pictorial representation, I provide an alternative explanation of Danto’s claim that art no longer manifests the narrative of the era of art, arguing that the shift in art’s preferred form of presentation, though no longer supporting narrative explanation, is developing as a language of disclosure. (shrink)

Distributive justice is one of the most discussed topics in political philosophy. Focusing on the plurality of irreconcilable conceptions of social and political justice, this book presents an array of new perspectives on the topic. Bringing together 30 original essays of well-established and young international scholars, the volume is essential reading for anyone interested in social and political justice.

This essay discusses the mounted image of St. George slaying an emperor within the broader context of how and why early Christian images were transformed and adapted to the early Byzantine religious style. The representational framework of Arthur Danto’s philosophical system is used to tie together the threads of this research. By drawing parallels between changes in contemporary art and culture – often referred to as the modern/postmodern shift – and the transition of the Hellenistic to the Byzantine era, structures (...) common to artistic creation and reception are brought to the fore. The case study presents the history of the depiction of St. George slaying Diocletian, how it emerged in the Caucasus region, and the manner in which it reflects the stylistic changes that took place in the late antique eastern Roman world. The social, cultural and philosophical ramifications of the shift of high classical art to the early Byzantine style are laid out in terms of art, modes of inquiry, and action-orientation. A theory is presented on what role the image of St. George killing Diocletian may have played in transforming the late antique and early medieval worldview. The final section sketches a philosophical framework that supports the conclusions of this research. (shrink)

This book examines the little understood end-of-art theses of Hegel, Nietzsche, and Danto. The end-of-art claim is often associated with the end of a certain standard of taste or skill. However, at a deeper level, it relates to a transformation in how we philosophically understand our relation to the ‘world’. Hegel, Nietzsche, and Danto each strive philosophically to overcome Cartesian dualism, redrawing the traditional lines between mind and matter. Hegel sees the overcoming of the material in the ideal, Nietzsche levels (...) the two worlds into one, and Danto divides the world into representing and non-representing material. These attempts to overcome dualism necessitate notions of the self that differ significantly from traditional accounts; the redrawn boundaries show that art and philosophy grasp essential but different aspects of human existence. Neither perspective, however, fully grasps the duality. The appearance of art’s end occurs when one aspect is given priority: for Hegel and Danto, it is the essentialist lens of philosophy, and, in Nietzsche’s case, the transformative power of artistic creativity. Thus, the book makes the case that the end-of-art claim is avoided if a theory of art links the internal practice of artistic creation to all of art’s historical forms. (shrink)

. This paper discusses the transformative power of aesthetic narrative within the framework of Nietzsche’s theory of transvaluation. The transformative power of creative narrative is the power to give meaning to life’s activity by keeping ahead of forces that would deny it. The power of aesthetic transvaluation plays a fundamental role in the dynamic of the resistance movement that sprang from the Gezi Park sit-ins. The movement erupted with an aesthetic intensity that surprised detractors as well as supporters, employing aesthetic (...) creativity in a way that sets it apart from other protests in Turkey and the Arab world. On several levels, the young movement has become a form of artistic protest. Striking parallels are found in Nietzsche’s aesthetic claim that the existential transformation of one’s narrative is the principle aim of the artist and the dynamic action of the people in Turkey who resist what they feel is an encroachment on their democratic rights and their way of life. The point of the essay, however, is not merely to illustrate the parallels. It is to examine how aesthetic imagination plays a role in forming a narrative that conjures meaning solely through creative fiat, showing how the power of transvaluation is manifested in the Gezi Park resistance. (shrink)

The concept of distributive justice and its history are far more complex than most contemporary scholars are aware of. This introduction to the volume "New Perspectives on Distributive Justice" elucides the different meanings of the concept in the tradition of Plato and Aristotle on the one hand, and in contemporary political philosophy on the other.

This is a review of Michael Kelly's _Iconoclasm in Aesthetics_.

Is evil evidence against the existence of God? Even if God and evil are compatible, it remains hotly contested whether evil renders belief in God unreasonable. The Evidential Argument from Evil presents five classic statements on this issue by eminent philosophers and theologians and places them in dialogue with eleven original essays reflecting new thinking by these and other scholars. The volume focuses on two versions of the argument. The first affirms that there is no reason for God to permit (...) either certain specific horrors or the variety and profusion of undeserved suffering. The second asserts that pleasure and pain, given their biological role, are better explained by hypotheses other than theism. -/- Contributors include William P. Alston, Paul Draper, Richard M. Gale, Daniel Howard-Snyder, Alvin Plantinga, William L. Rowe, Bruce Russell, Eleonore Stump, Richard G. Swinburne, Peter van Inwagen, and Stephen John Wykstra. (shrink)

“Divine hiddenness”, as the phrase suggests, refers, most fundamentally, to the hiddenness of God, i.e., the alleged fact that God is hidden, absent, silent. In religious literature, there is a long history of expressions of annoyance, anxiety, and despair over divine hiddenness, so understood. For example, ancient Hebrew texts lament God’s failure to show up in experience or to show proper regard for God’s people or some particular person, and two Christian Gospels portray Jesus, in his cry of dereliction on (...) the cross, as experiencing abandonment by God, whom he regarded as “Abba, Father”, an experience shared by many mystics, saints, and ordinary folk of all theistic traditions, described at its worst as “the dark night of the soul”. Understood in this way, divine hiddenness poses an existential problem for those who have such experiences. -/- However, “divine hiddenness” refers to something else in recent philosophical literature, especially since the publication of J.L. Schellenberg’s landmark book, Divine Hiddenness and Human Reason (1993). In this context, it refers to alleged facts about the absence of belief of God, on the basis of which one might think there is no God. For example, Schellenberg argues that, since there are nonbelievers who are capable of a personal relationship with God and who do not resist it, there is no perfectly loving God, while Stephen Maitzen argues that naturalism better explains the “demographics” of nonbelief than theism and Jason Marsh argues that naturalism better explains “natural nonbelief” than theism. Understood in this way, divine hiddenness constitutes putative evidence for atheism. -/- Although some of the recent philosophical literature addresses the problem understood in the first way (e.g., DeWeese-Boyd 2016; Garcia 2002), this entry focuses on divine hiddenness understood in the second way. The first section discusses the relationships between nonbelief and another source of alleged evidence for atheism: evil. The second section states and defends the argument from nonresistant nonbelief. The third section sketches attempts to explain nonresistant nonbelief from a theistic perspective. The fourth section states other responses to the argument from nonresistant nonbelief. The fifth section discusses the argument from the demographics of nonbelief and the sixth section discusses the argument from natural nonbelief. (shrink)

According to Agnosticism with a capital A, even if we don’t see how any reason we know of would justify God in permitting all the evil in the world and even if we lack evidential and non-evidential warrant for theism, we should not infer that there probably is no reason that would justify God. That’s because, under those conditions, we should be in doubt about whether the goods we know of constitute a representative sample of all the goods there are, (...) among relevantly similar things. In my "Epistemic Humility, Arguments from Evil, and Moral Skepticism" (2009), I defended Agnosticism against the charge that it leaves us in doubt about whether we are obligated to intervene to prevent horrific suffering we can prevent at no risk to ourselves. In his “Agnosticism, Skeptical Theism, and Moral Obligation” (2014), Stephen Maitzen argues that, in light of my defense, Agnosticism is at odds with commonsense morality’s insistence that we have an obligation to intervene in such cases. In the present essay, I argue that the moral principle Maitzen seems to impute to commonsense (it's hard to tell what principle he has in mind) is false and that a moral principle much more in keeping with commonsense is compatible with Agnosticism and my defense of it. Along the way, I mention multiple misrepresentations Maitzen makes of Agnosticism and my defense of it. (shrink)

Skeptical theism combines theism with skepticism about our capacity to discern God’s morally sufficient reasons for permitting evil. Proponents have claimed that skeptical theism defeats the evidential argument from evil. Many opponents have objected that it implies untenable moral skepticism, induces appalling moral paralysis, and the like. Recently Daniel Howard-Snyder has tried to rebut this prevalent objection to skeptical theism by rebutting it as an objection to the skeptical part of skeptical theism, which part he labels “Agnosticism” (with an (...) intentionally capital “A”). I argue that his rebuttal fails as a defense of Agnosticism against the objection and even more so as a defense of skeptical theism. (shrink)

Applying Snyder and Feldman's 1984 consolidation‐transition model to moral judgement development has enabled further understanding of how moral judgement translates to moral functioning. In this study, 178 college students were identified as being in consolidated versus transitional phases of moral judgement development using Rest's Defining Issues Test (DIT). Participant moral functioning was inferred through an honest decision‐making index along with Attitudes Towards Human Rights Inventory (ATHRI) and Volunteer Functions Inventory (VFI) scores. Multivariate Analyses of Variance revealed that the consolidated (...) group was significantly more honest than the transitional group. No differences attributable to moral judgement phase were seen for ATHRI and VFI scores. Findings support the claim that consolidated phases improve the explanatory power of moral judgement for certain moral functional outcomes—particularly those involving ambiguity and minimal time for decision‐making. (shrink)

A review of Stephen Snyder’s End-of-Art Philosophy in Hegel, Nietzsche and Danto.

For many people the existence of God is by no means a sufficiently clear feature of reality. This problem, the fact of divine hiddenness, has been a source of existential concern and has sometimes been taken as a rationale for support of atheism or agnosticism. In this collection of essays, a distinguished group of philosophers of religion explore the question of divine hiddenness in considerable detail. The issue is approached from several perspectives including Jewish, Christian, atheist and agnostic. There is (...) coverage of the historical treatment of divine hiddenness as found in the work of Maimonides, St. John of the Cross, Jonathan Edwards, Kierkegaard, and various Biblical writers. A substantial introduction clarifies the main problems of and leading solutions to divine hiddenness. Primarily directed at philosophers of religion, theologians, and scholars of religious studies, this collection could also serve as a textbook for upper-level courses in philosophy of religion. (shrink)

Faith in God conflicts with reason—or so we’re told. We focus on two arguments for this conclusion. After evaluating three criticisms of them, we identify an assumption they share, namely that faith in God requires belief that God exists. Whether the assumption is true depends on what faith is. We sketch a theory of faith that allows for both faith in God without belief that God exists, and faith in God while in belief-cancelling doubt God’s existence. We then argue that (...) our theory, unlike the theory of Thomas Aquinas, makes sense of four central items of faith-data: (i) pístis in the Synoptics, (ii) ʾemunāh in the Hebrew scriptures, (iii) exemplars of faith in God, including Abraham, Jesus, and Mother Teresa, and (iv) the widespread experience of people of faith today. We close by assessing revisions of the two arguments we began with, revisions that align with our theory of faith, and find them dubious, at best. (shrink)

In this paper, we outline and critically evaluate Thomas Hofweber’s solution to a semantic puzzle he calls Frege’s Other Puzzle. After sketching the Puzzle and two traditional responses to it—the Substantival Strategy and the Adjectival Strategy—we outline Hofweber’s proposed version of Adjectivalism. We argue that two key components—the syntactic and semantic components—of Hofweber’s analysis both suffer from serious empirical difficulties. Ultimately, this suggests that an altogether different solution to Frege’s Other Puzzle is required.

Undergraduate students with no prior classroom instruction in mathematical logic will benefit from this evenhanded multipart text by one of the centuries greatest authorities on the subject. Part I offers an elementary but thorough overview of mathematical logic of first order. The treatment does not stop with a single method of formulating logic; students receive instruction in a variety of techniques, first learning model theory (truth tables), then Hilbert-type proof theory, and proof theory handled through derived rules. Part II supplements (...) the material covered in Part I and introduces some of the newer ideas and the more profound results of logical research in the twentieth century. Subsequent chapters introduce the study of formal number theory, with surveys of the famous incompleteness and undecidability results of Godel, Church, Turing, and others. The emphasis in the final chapter reverts to logic, with examinations of Godel's completeness theorem, Gentzen's theorem, Skolem's paradox and nonstandard models of arithmetic, and other theorems. Unabridged republication of the edition published by John Wiley & Sons, Inc. New York, 1967. Preface. Bibliography. Theorem and Lemma Numbers: Pages. List of Postulates. Symbols and Notations. Index. (shrink)

Basic concepts -- Identifying arguments -- Logic and language -- Informal fallacies -- Categorical logic: statements -- Categorical logic: syllogisms -- Statement logic: truth tables -- Statement logic: proofs -- Predicate logic -- Induction -- Probability.

The concept of minimal risk has been used to regulate and limit participation by adolescents in clinical trials. It can be understood as setting an absolute standard of what risks are considered minimal or it can be interpreted as relative to the actual risks faced by members of the host community for the trial. While commentators have almost universally opposed a relative interpretation of the environmental risks faced by potential adolescent trial participants, we argue that the ethical concerns against the (...) relative standard may not be as convincing as these commentators believe. Our aim is to present the case for a relative standard of environmental risk in order to open a debate on this subject. We conclude by discussing how a relative standard of environmental risk could be defended in the specific case of an HIV vaccine trial among adolescents in South Africa. (shrink)

In Return to Reason, Stephen Toulmin argues that the potential for reason to improve our lives has been hampered by a serious imbalance in our pursuit of ...

The Hedgehog, the Fox, and the Magister's Pox is a controversial discourse, rich with facts and observations gathered by one of the most erudite minds of our ...

Stephen Toulmin argues that the potential for reason to improve our lives has been hampered by a serious imbalance in our pursuit of knowledge. The centuries-old dominance of rationality has diminished the value of reasonableness. Toulmin issues a powerful call to redress the balance between rationality and reasonableness.

This is a 12-page article on the life and work in philosophy of religion by William P. Alston (1921-2009).

"Biophilia" is the term coined by Edward O. Wilson to describe what he believes is humanity's innate affinity for the natural world. In his landmark book Biophilia, he examined how our tendency to focus on life and lifelike processes might be a biologically based need, integral to our development as individuals and as a species. That idea has caught the imagination of diverse thinkers. The Biophilia Hypothesis brings together the views of some of the most creative scientists of our time, (...) each attempting to amplify and refine the concept of biophilia. The variety of perspectives -- psychological, biological, cultural, symbolic, and aesthetic -- frame the theoretical issues by presenting empirical evidence that supports or refutes the hypothesis. Numerous examples illustrate the idea that biophilia and its converse, biophobia, have a genetic component: fear, and even full-blown phobias of snakes and spiders are quick to develop with very little negative reinforcement, while more threatening modern artifacts -- knives, guns, automobiles -- rarely elicit such a response people find trees that are climbable and have a broad, umbrella-like canopy more attractive than trees without these characteristics people would rather look at water, green vegetation, or flowers than built structures of glass and concrete The biophilia hypothesis, if substantiated, provides a powerful argument for the conservation of biological diversity. More important, it implies serious consequences for our well-being as society becomes further estranged from the natural world. Relentless environmental destruction could have a significant impact on our quality of life, not just materially but psychologically and even spiritually. (shrink)

This paper summarizes a version of the argument from evil for atheism and then assesses several theodicies, including those that appeal to punishment, evil as a necessary counterpart for good, free will, natural evil as natural consequence, natural law, higher-order goods, and the conjunctive "Big Reason" including all the above and more beside.

Contemporary accounts of the concept of exploitation can be grouped into camps that tie the wrongness of taking advantage of another person to: (1) the unfair division of benefits resulting from an interaction; (2) excessive benefits resulting from structural injustice; and (3) a failure of respect for others’ humanity. In practice, accounts of exploitation that focus on the fairness of benefits resulting from individual transactions and, to a lesser degree, unjust social and economic institutions have dominated the applied ethics literature (...) using the concept of exploitation. However, fairness-based accounts of exploitation have a difficult time explaining a common dimension of purportedly exploitative cases in the press and academic literature—namely the absolute deprivation of and/or experience of injustice by victims of exploitation. In this paper, I argue that a respect-based account can explain how exploitation arises both from individual interactions and against a backdrop of injustice. Specifically, our connections with one another and social and economic institutions specify the duty of beneficence and political responsibility to promote just institutions. Exploitation takes place when people fail to act on these specified obligations in favor of their own benefit. (shrink)

What does it mean to think of philosophy in the condition of modernism, in which its relation to its past and future has become a relevant problem? This book argues that the writings of Wittgenstein, Heidegger, and Kierkegaard are best understood as responsive (each in their own way) to such questions. Through detailed analysis of these authors' most influential texts, Stephen Mulhall reorients our sense of the philosophical work each text aims to accomplish, engendering a critical dialogue between them (...) from which the elements of a new conception of philosophy might emerge. (shrink)

Transnational corporations have become actors with significant political power and authority which should entail responsibility and liability, specifically direct liability for complicity in human rights violations. Holding TNCs liable for human rights violations is complicated by the discontinuity between the fragmented legal/political structure of the TNC and its integrated strategic reality and the international state system which privileges sovereignty and non-intervention over the protection of individual rights. However, the post-Westphalian transition—the emergence of multiple authorities, increasing ambiguity of borders and jurisdiction (...) and blurring of the line between the public and private spheres—should facilitate imposing direct responsibility on transnational firms. Mechanisms for imposing direct responsibility on TNCs are considered including voluntary agreements and international law. However, I conclude that a hybrid public-private regime which relies on non-hierarchical compliance mechanisms is likely to be both more effective and consistent with the structure of the emerging transnational order. (shrink)

Infallibilism is the view that a belief cannot be at once warranted and false. In this essay we assess three nonpartisan arguments for infallibilism, arguments that do not depend on a prior commitment to some substantive theory of warrant. Three premises, one from each argument, are most significant: if a belief can be at once warranted and false, then the Gettier Problem cannot be solved; if a belief can be at once warranted and false, then its warrant can be transferred (...) to an accidentally true belief; if a belief can be at once warranted and false, then it can be warranted and accidentally true. We argue that each of these is either false or no more plausible than its denial. Along the way, we offer a solution to the Gettier Problem that is compatible with fallibilism. (shrink)

Organizational aesthetics, both as a body of theory and a method of inquiry, is a rapidly expanding area of the organizational sciences. The Aesthetics of Organization accessibly draws key contributions delineating the emerging parameters of the field. It explains the significance of concepts devised by postmodern thinkers, through which emerge meaning and order in organizations. Methodological problems associated with investigations of the aesthetic are also highlighted so the reader can identify and understand the importance of recent ideas on vision, perspective (...) and periphery for learning in organizations. Through the contributions of leading international theorists, organizational aesthetics is defined in greater historical and theoretical depth, with a broad conceptual and practical range which academics will find invaluable. (shrink)