Ben Laurence argues for a political philosophy that unifies theory and practice in pursuit of change. He shows that the task of political philosophy is not complete until the political philosopher asks the question "What is to be done?" and deliberates about the answer with agents of change.

In non-ideal theory, the political philosopher seeks to identify an injustice, synthesize social scientific work to diagnose its underlying causes, and propose morally permissible and potentially efficacious remedies. This paper explores the role in non-ideal theory of the identification of a plausible agent of change who might bring about the proposed remedies. I argue that the question of the agent of change is connected with the other core tasks of diagnosing injustice and proposing practical remedies. In this connection, I criticize (...) two linked postures that nonideal theorists sometimes adopt: a technocratic mode of neutral policy recommendation, whereby philosophers say what “we” must do to address some problem, without attending to the way agency enters the problem and its possible resolution; and the tendency to treat non-ideal theory as primarily consisting int eh enumeration of duties we are failing to fulfill, and specification of who is under what additional duties in light of this shortfall. My argument is that these tendencies fail to register in a coherent way the practical character of political philosophy. (shrink)

Elizabeth Anscombe develops a non-psychologistic account of intentional individual action. According to her, action is intentional when it is subject to a special sense of the question “Why?”, the answer to which displays certain forms of explanation that are available to the agent. In this paper, I present an Anscombean account of collective action. On this account, an action is collective if it is subject to a certain sense of the question why, and displays a form different from, but related (...) to, that of individual action. In particular, agents act together on my account if and only if their actions can all be straightforwardly instrumentally rationalized by the same action. Since an Anscombean account is non-psychologistic in that it does not presuppose that actions are intentional in virtue of being caused by a mental state, my account dissolves most worries about group minds. If I am right, such concerns arise from a bad picture of individual action that poses special problems when carried over to the collective case. (shrink)

For Kant right and ethics are two formally distinct departments of a single morality of reason and freedom. Unlike ethics, right involves an authorization to coerce, and this coercion serves as a pathological incentive. I argue that for Kant the distinctive character of right flows from the fact that juridical obligation has a different relational structure than ethical obligation. I argue that this relational structure explains the connection of right to coercion, and also explains how a categorical imperative can be (...) known a priori to issue in both a pathological and non-pathological incentive. Thus the justification of coercion and its special role as incentive are rooted in the relational character of juridical obligations, and so ultimately in categorical imperatives of reason. Since this pathological incentive has a moral basis in the structure of juridical obligations, and so ultimately in a representation of moral laws, I argue that Kant’s discussion of the juridical incentive of coercion is more continuous with his main discussion of moral incentives in the Critique of Practical Reason than it might at first appear. I illustrate the consequences of this reading by discussing the propensity to injustice, as Kant understands it, and the unique way in which the juridical incentive undermines it. (shrink)

John Rawls divides this theory into two parts that he calls ideal and nonideal theory. In this essay I argue that Rawls runs together two quite different conceptions of this dyad corresponding to the idea of strict compliance and realistic utopia respectively. These conceptions employ different criteria of classification, are motivated by different concerns, and have different practical upshots. I present a view that combines the two coherently on Rawls’ behalf while remaining true to his intentions. But I argue that (...) even this amended view is unsatisfactory. Although the realistic utopia conception is well motivated, strict compliance is problematic. The upshot is that we can embrace the division of the theory of justice into ideal and nonideal theory, while rejecting the strict compliance understanding of ideal theory. (shrink)

This paper explores ethical issues raised by quadratic voting. We compare quadratic voting to majority voting from two ethical perspectives: the perspective of utilitarianism and that of democratic theory. From a utilitarian standpoint, the comparison is ambiguous: if voter preferences are independent of wealth, then quadratic voting out- performs majority voting, but if voter preferences are polarized by wealth, then majority voting may be superior. From the standpoint of democratic theory, we argue that assess- ments in terms of efficiency are (...) too narrow. Voting institutions and political institutions more generally face a legitimacy requirement. We argue that in the presence of inequalities of wealth, any vote buying mechanism, including quadratic voting, will have a difficult time meeting this requirement. (shrink)

This essay provide an overview of debates about the method of political philosophy that have recently gripped the field, focusing on the relationship of theory to practice. These debates can be usefully organized using two oppositions that together carve the field into three broad families of views. Call “practicalism” the view that the theory of justice exists to guide political action. Call “utopianism” the view that reflection on the idea of a just society plays an important role in the theory (...) of justice. Call the view that combines the two positions, “utopian practicalism”. On this view, reflection on the nature of a just society has an important role to play in guiding action. There would appear to be two ways to depart from this position: by rejecting the view's utopianism or its practicalism. So we find in the literature three broad camps: utopian practicalists, anti‐utopians, and anti‐practicalists. This essay provide an opinionated overview the ongoing debates between these three broad positions. It touches on the recent cases against practicalism by G.A. Cohen and David Estlund, the comparativist methodologies advocated by anti‐utopians such as Amartya Sen and Gerry Gaus, and systems failure approaches of Elizabeth Anderson and David Wiens. It also considers the recent development of novel utopian practicalist perspectives in the work of theorists including Erik Wright, Tommie Shelby, Lea Ypi, Pablo Gilabert, and Ben Laurence. (shrink)

In this paper, I explore Kant’s discussion of juridical and ethical laws in the introduction to the Metaphysics of Morals as a whole. Following Marcus Willaschek and early Allen Wood, I pose a dilemma for Kant that I call “the paradox of juridical imperatives”, a dilemma that Willaschek and Wood hold Kant can only avoid by giving up his claim that juridical laws are categorical imperatives. I show how a set of interpretative issues concerning juridical incentives, the content of juridical (...) laws, and the idea of an “indirect” ethical obligations, hang together, and must solved simultaneously in order to address the paradox. I argue, contra Willaschek and Wood, that we can dissolve the paradox, solving the network of issues satisfactorily and affirming the status of juridical laws as categorical imperatives, once we recognize that one can go wrong with respect to a principle while fulfilling the letter of its requirements. The picture that emerges is one on which we can straightforwardly affirm Recht as a moral concept for Kant, while simultaneously representing its distinctive character in his system of morality. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

One of the many problems that would have t o be solved by a satisfactory theory of empirical knowledge, perhaps the most central is a general structural problem which I shall call the epistemic regress problem: the problem of how to avoid an in- finite and presumably vicious regress of justification in ones account of the justifica- tion of empirical beliefs. Foundationalist theories of empirical knowledge, as we shall see further below, attempt t o avoid the regress by locating a (...) class of empirical beliefs whose justification does not depend on that of other empirical beliefs. Extemalist theories, the topic of the present paper, represent one species of foundationalism. (shrink)

Introduction: there is no justice in Heidegger or for Marx -- Interpretations of Heidegger and Marx -- The history of Marx and Heidegger -- The history and negation of metaphysics -- Logic and dialectic -- Metaphysics of the human state -- The situation of Germany -- The ideology of Germany -- Nazism, liberalism, humanism -- The Jewish question -- Speaking of the essence of man -- Production-previously this was called God -- The end of humanism -- Between men and gods (...) -- Conclusion. (shrink)

Well-Being and Death addresses philosophical questions about death and the good life: what makes a life go well? Is death bad for the one who dies? How is this possible if we go out of existence when we die? Is it worse to die as an infant or as a young adult? Is it bad for animals and fetuses to die? Can the dead be harmed? Is there any way to make death less bad for us? Ben Bradley defends the (...) following views: pleasure, rather than achievement or the satisfaction of desire, is what makes life go well; death is generally bad for its victim, in virtue of depriving the victim of more of a good life; death is bad for its victim at times after death, in particular at all those times at which the victim would have been living well; death is worse the earlier it occurs, and hence it is worse to die as an infant than as an adult; death is usually bad for animals and fetuses, in just the same way it is bad for adult humans; things that happen after someone has died cannot harm that person; the only sensible way to make death less bad is to live so long that no more good life is possible. (shrink)

Research to improve the health of pregnant and fetal patients presents ethical challenges to clinical investigators, institutional review boards, funding agencies, and data safety and monitoring boards. The Common Rule sets out requirements that such research must satisfy but no ethical framework to guide their application. We provide such an ethical framework, based on the ethical concept of the fetus as a patient. We offer criteria for innovation and for Phase I and II and then for Phase III clinical trials (...) to improve the health of pregnant patients and of fetal patients and also criteria to responsibly manage the transition from investigation to clinical practice. Basing ethical criteria for research involving pregnant women on the ethical concept of the fetus as a patient insulates the proposed ethical framework and therefore research on pregnant women from the divisive and politicized concepts and discourses of personhood, fetal rights, and unborn child. (shrink)

In virtue of what do the utterances we make mean what they do? What facts about these signs, about us, and about our environment make it the case that they have the meanings they do? According to a tradition stemming from H.P. Grice through David Lewis and Stephen Schiffer it is in virtue of facts about conventions that we participate in as language users that our utterances mean what they do (see Gr'ice 1957, Lewis 1969, 1983, Schiffer 1972, 1982). This (...) view currently enjoys widespread acceptance among philosophers of mind and language. Though most are not particularly interested in the details of such programs, the dominant view seems to be that something of the sort proposed by Grice, Lewis and Schiffer is basically right. Thus, Jerry Fodor, refiecting what I take to be prevalent attitudes in the field, writes. (shrink)

In virtue of what do the utterances we make mean what they do? What facts about these signs, about us, and about our environment make it the case that they have the meanings they do? According to a tradition stemming from H.P. Grice through David Lewis and Stephen Schiffer it is in virtue of facts about conventions that we participate in as language users that our utterances mean what they do (see Gr'ice 1957, Lewis 1969, 1983, Schiffer 1972, 1982). This (...) view currently enjoys widespread acceptance among philosophers of mind and language. Though most are not particularly interested in the details of such programs, the dominant view seems to be that something of the sort proposed by Grice, Lewis and Schiffer is basically right. Thus, Jerry Fodor, refiecting what I take to be prevalent attitudes in the field, writes. (shrink)

The Minos is one of thirty-five dialogues that ancient editors and commentators regarded as one of the authentic works of Plato. Although it is now regarded as spurious, in both the classical and modern eras, the Minos was treated as a suitable problematic introduction to Plato's Laws. The co-authors (Houlgate and Hathaway) believe that it is still an excellent introduction to the Laws. It has philosophical significance whether or not it is authentic. It is the philosophical significance that is discussed (...) in this article. (shrink)

In this paper I present a novel account of achievement and I argue that, all other things being equal, the presence of this particular type of achievement in a person’s life makes that life more meaningful. In arguing for this conclusion, I explore the connections between m-achievements and a person’s self-conception and especially the idea that m-achievements provide a reason for the revision of one’s self-conception.

This book explores the role of causal constraints in science, shifting our attention from causal relations between individual events--the focus of most philosophical treatments of causation--to a broad family of concepts and principles generating constraints on possible change. Yemima Ben-Menahem looks at determinism, locality, stability, symmetry principles, conservation laws, and the principle of least action-causal constraints that serve to distinguish events and processes that our best scientific theories mandate or allow from those they rule out. Ben-Menahem's approach reveals that causation (...) is just as relevant to explaining why certain events fail to occur as it is to explaining events that do occur. She investigates the conceptual differences between, and interrelations of, members of the causal family, thereby clarifying problems at the heart of the philosophy of science. Ben-Menahem argues that the distinction between determinism and stability is pertinent to the philosophy of history and the foundations of statistical mechanics, and that the interplay of determinism and locality is crucial for understanding quantum mechanics. Providing historical perspective, she traces the causal constraints of contemporary science to traditional intuitions about causation, and demonstrates how the teleological appearance of some constraints is explained away in current scientific theories such as quantum mechanics. (shrink)

Against the “universal consent of the people” and “the crowd of philosophers”, Pascal proves the existence of the void, thus re-establishing the truth where only the force and falsity of opinions had prevailed. Nature “has no repugnance for the void”, it “makes no effort to avoid it” but “admits it without difficulty or resistance”. Pascal defines the void as neither matter nor nothingness. Can this definition be found in Philosophy, in the Anthropology of the Pensées? We would like to show (...) the importance of the notion of the capacity of empty nature, which is decisive when it comes to describing the condition of man, troubled by a desire for truth and happiness that he cannot satisfy. Nature is thus, for him, what is “most contrary” to him, depriving him of what is rightfully his. The void has a cardinal function in Physics, but also in Philosophy. (shrink)

La philosophie cartésienne se décline en un refrain tranquille : « je pense, donc je suis », la méthode, le doute, le triomphe de la raison, Dieu lui-même soumis à la logique de l’entendement et toutes les passions domestiquées. Ce refrain semble même être devenu celui de la nation française toute entière : y a-t-il un autre philosophe auquel il soit fait aussi couramment référence? Mais ce « cartésianisme » que la tradition a retenu n’est justement pas cartésien. A rebours (...) de nos a priori sur Descartes, Laurence Devillairs souligne le caractère inclassable de sa philosophie : Descartes revendique le droit de la raison à s’exercer librement mais il se définit aussi comme « philosophe chrétien » ; il déclare l’homme capable de connaître l’essence même de Dieu mais en affirme l’irréductible incompréhensibilité ; il rétablit les droits de l’âme contre toute confusion avec le corporel mais fait de l’homme l’union intime d’un corps et d’un esprit. Ainsi se fait jour le portrait d’un maître à penser sans réel disciple, critique de la philosophie de l’École, désireux de voir le cartésianisme enseigné au titre de philosophie officielle, premier philosophe de la modernité et meilleur théologien de son siècle. Descartes n’a d’autre école que la sienne. (shrink)

This is a review of Laurence Houlgate's "Family and State: the Philosophy of Family Law. It takes a look at the moral theory from which Houlgate begins and raises questions about is correctness and appropriateness, but it finds more to agree with with respect to his middle-level principles. It considers his definition of "family" in the context of contemporary political controversy over such definitions. It looks at his consequentialist justification for the family, agrees with it, and suggests additional supplementary (...) arguments, primarily from Brigitte and Peter Berger, to give additional support for Houlgate's argument. It looks at his justification for family law and agrees with his principle of optimum communal benefit. It seeks to place Houlgate's views within the context of contemporary political debate about being "pro-family" or "anti-family". It then goes on to look briefly at some of the specific issues of family law that Houlgate considers, taking time to raise a few questions about some of them, and concludes by dealing in a more extensive way with the question of what the extent and limits of state interference in the family should be, agreeing with Houlgate's basic position, but considering further its application to specific issues. (shrink)

Comment concilier le relatif et l’universel? C’est à cette délicate tâche que s’était attelée il y a déjà quelques années Madame Delmas-Marty, spécialement dans le domaine des droits de l’homme. Le présent ouvrage envisage une difficulté supplémentaire en croisant les interrogations sur le pluralisme juridique avec la question de l’effectivité du droit économique. La prise en compte des pluralismes, notamment du pluralisme juridique, contribue-t-elle à une meilleure effectivité du droit économique? Ou bien, au contraire, le pluralisme juridique est-il un facteur (...) d’ineffectivité du droit économique? Dans cette recherche, les auteurs se sont attachés au pluralisme aussi bien dans la production du droit économique que dans le règlement des différends. C’est ainsi que le lecteur est appelé à cheminer dans la diversité des formes nouvelles qu’empruntent les régulations juridiques pour partir à la recherche des multiples intérêts que peut prendre en charge le droit économique, qu’ils soient individuels, collectifs ou même futurs. Le voyage se poursuit, là encore dans les mondes aussi bien des formes que de la substance. L'ouvrage, après avoir cherché à cerner la notion d’effectivité au regard de notions voisines comme l’efficacité ou l’efficience, s’interroge in fine sur l’éventualité des voies d’un dépassement de la notion de pluralisme juridique. (shrink)

The object of this article is to clarify the relationship between morality and family law in a variety of legal situations. This will give the reader a better grasp of the kind of case to be included in the traditionalist claim that the idea of legal intervention in the family is a coherent notion. Once this is sorted, we will be in a position to discuss and clarify the radical thesis that "the personal is political.".

One of the most important abilities we have as humans is the ability to think about number. In this chapter, we examine the question of whether there is an essential connection between language and number. We provide a careful examination of two prominent theories according to which concepts of the positive integers are dependent on language. The first of these claims that language creates the positive integers on the basis of an innate capacity to represent real numbers. The second claims (...) that language’s function is to integrate contents from modules that humans share with other animals. We argue that neither model is successful. (shrink)

This volume is a comprehensive survey of contemporary thought on a wide range of issues and provides students with the basic background to current debates in metaphysics.

The essays in Politics, Nature, and Piety take up the central question of political philosophy: What is the good life, and what place do nature, politics, and piety have in that life? 'The unity of the essays,' Alex Priou writes in his introduction, 'lies in the various tensions explored: between ancients and moderns, religion and philosophy, magnanimity and prudence, justice and friendship, and, most fundamentally, spiritedness and the intellect.' Laurence Berns proves an excellent guide for beginning one's study of (...) the great books of political philosophy, from Plato to the present." --Publisher's description. (shrink)

Chaque fois que les hommes parlent du temps, ils le connotent d'une valorisation typiquement humaine : "Prendre du bon temps", "perdre son temps", "la fuite du temps". Cette expérience immédiate, affective et bouleversante favorise un discours quasi simpliste ou nostalgique sur ce temps considéré comme ce qui enferme le tragique ou le pathétique de la condition humaine, vouée à la finitude. Le paradoxe réside donc, en ce fait qu'il paraît complexe de dire l'essence du temps, d'autant que souvent chacun en (...) est réduit à n'en faire qu'une description mesurable, chronologique ou phénoménologique. Toutefois cette conception d'un temps essentiellement linéaire ne semble pas rendre compte de l'aspect cyclique ou rythmé de certaines manifestations (notamment naturelles), ni même des résurgences du passé par l'intermédiaire de la mémoire, ou encore des projets et des anticipations envisagés en prévention d'un "à-venir". L'embarras réside, spécifiquement, dans cette aporie à donner une consistance au temps typiquement humain face à la perfection ontologique d'une éternité : Ontologie qu'il importe de situer en l'homme par opposition à une entité extérieure rendue visible par l'instrument de mesure, mais qui ne peut coïncider avec l'intériorisation du temps intuitionné au coeur de l'être en plein étance. Ontologie à distinguer notamment d'un Etre suprême qui échappe à toute temporalité et présuppose son immuabilité et dont l'homme, dans son statut d'être livré au temps, est coupé. Au regard de cette complexité, nous pouvons réitérer la question : Qu'est-ce que le temps et comment le penser? Comment égrener une philosophie du temps comparable à la saisie de l'écoulement de grains de sable dans un sablier et palper au coeur même de la vie, dans son efflorescence la puissance de l'instant? L'ouvrage de Laurence Vanin fournit un ensemble d'éléments susceptibles d'orienter le lecteur vers des réponses... (shrink)

This paper considers whether an analogy between distance and dissimilarlity supports the thesis that degree of dissimilarity is distance in a metric space. A straightforward way to justify the thesis would be to define degree of dissimilarity as a function of number of properties in common and not in common. But, infamously, this approach has problems with infinity. An alternative approach would be to prove representation and uniqueness theorems, according to which if comparative dissimilarity meets certain qualitative conditions, then it (...) is representable by distance in a metric space. I will argue that this approach faces equally severe problems with infinity. (shrink)

This book offers a unique synthesis of past and current work on the structure, meaning, and use of negation and negative expressions, a topic that has engaged thinkers from Aristotle and the Buddha to Freud and Chomsky. Horn's masterful study melds a review of scholarship in philosophy, psychology, and linguistics with original research, providing a full picture of negation in natural language and thought; this new edition adds a comprehensive preface and bibliography, surveying research since the book's original publication.

Cognitive science proposes that we have evolved to build mental maps of the world not according to its actual, physical nature, but according to what allows us to thrive. In other words, our individual and collective realities are fictions - carefully constructed to enable us to maintain our particular perspectives. It used to be that our fictions were rooted to reasonably solid things: to people, places and memories. Today, in an age of online personas, alternative truths, constant surveillance and an (...) increasingly hysterical news cycle, our realities are becoming more flimsy and more vulnerable than ever before. Ours is now a zoomed-in perspective, where the backstage is centre stage. We are both camera person and subject, with new powers and new weaknesses. Our personal and political spheres are dangerously merging. How will the form and grammar of our feelings have to change in this over-exposed environment? Should any of our stories remain secret? How are these phenomena changing the way we live? How do we maintain a sense of reality in an increasingly fantastic world? Picnic Comma Lightning is an innovative examination of the nature of reality in the twenty-first century, one that explores the key ethical, political and neurological forces contouring our inner selves, but also the old influences of grief and desire, memory and imagination. In it, award-winning author Laurence Scott provides a lively and accessible new philosophy for this epoch in Western civilisation, one that will change the way you see the world, and your place within it."--Publisher description. (shrink)

In this incisive new book one of Britain's most eminent philosophers explores the often overlooked tension between voluntariness and involuntariness in human cognition. He seeks to counter the widespread tendency for analytic epistemology to be dominated by the concept of belief. Is scientific knowledge properly conceived as being embodied, at its best, in a passive feeling of belief or in an active policy of acceptance? Should a jury's verdict declare what its members involuntarily believe or what they voluntarily accept? And (...) should statements and assertions be presumed to express what their authors believe or what they accept? Does such a distinction between belief and acceptance help to resolve the paradoxes of self-deception and akrasia? Must people be taken to believe everything entailed by what they believe, or merely to accept everything entailed by what they accept? Through a systematic examination of these problems, the author sheds new light on issues of crucial importance in contemporary epistemology, philosophy of mind, and cognitive science. (shrink)

The book was planned and written as a single, sustained argument. But earlier versions of a few parts of it have appeared separately. The object of this book is both to establish the existence of the paradoxes, and also to describe a non-Pascalian concept of probability in terms of which one can analyse the structure of forensic proof without giving rise to such typical signs of theoretical misfit. Neither the complementational principle for negation nor the multiplicative principle for conjunction applies (...) to the central core of any forensic proof in the Anglo-American legal system. There are four parts included in this book. Accordingly, these parts have been written in such a way that they may be read in different orders by different kinds of reader. (shrink)

The life fantastic -- Bedtime stories -- The end of things -- Optical disillusions -- Double vision -- Backstage pass -- Romance languages -- Fellow-feeling -- Bolts from the blue -- Final fantasies.

The aim of this book is to provide a better foundation for the legal rights of children than what now exists. The first part of the book describes the current legal status of children and critically discusses the traditional arguments for denying certain legal rights to children while granting them others. The second part describes and defends a general theory of children's rights, based on the principles of utility and egalitarian justice. The third part shows how the theory justifies significant (...) change in the current legal system. (shrink)

Perhaps the most pervasive conviction within the Western epistemological tradition is that in order for a belief to constitute knowledge it is necessary that it be epistemically justified: that the person in question have a reason or warrant which makes it at least highly likely that the belief is true. Historically, most epistemologists have distinguished two main sources from which such justification might arise. It has seemed obvious to all but a very few that many beliefs are justified by appeal (...) to one’s experience of the world. But it has seemed equally obvious to most that there are other beliefs, including many of the most important ones that we have, which are justified in a way which is entirely independent of any appeal to such experience, justified, as it is usually put, a priori, by reason or pure thought alone. (shrink)

Strong nativist views about numerical concepts claim that human beings have at least some innate precise numerical representations. Weak nativist views claim only that humans, like other animals, possess an innate system for representing approximate numerical quantity. We present a new strong nativist model of the origins of numerical concepts and defend the strong nativist approach against recent cross-cultural studies that have been interpreted to show that precise numerical concepts are dependent on language and that they are restricted to speakers (...) of languages with the right kind of structure. (shrink)

The map is not the territory - from ontology to epistemology in knowledge construction -- Dialectics: a mechanism of knowledge construction -- Reflectivity reconsidered -- Reflectivity and the researchers' perspective -- Reflectivity and the participants' perspective -- Ethical differences and similarities as sources of reflection and knowledge construction -- Research relations and power differentials: from resistance to collaboration and in-between -- Frames of reference and the control of knowledge -- Reciprocity: the nature and attributes of research relations and power -- (...) Epilogue: from dialectics to dialog across liminal spaces. (shrink)

The shortest stories are zero words long. There is no maximum length.