In lieu of an abstract, here is a brief excerpt of the content:A Response to Roger Mantie, Book Review, Thomas A. Regelski, A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis in Philosophy of Music Education Review 24, no. 2 (Fall, 2016): 213–219.Thomas A. RegelskiWhile I am appreciative of Roger Mantie’s generous compliments about my past scholarship, his review is often misleading and philosophically misinformed. In particular, what he refers to as my (...) “editorialized, overview of the history of aesthetics,”1 I clearly describe as a critical philosophy2 of the aesthetic theory of art according to recent philosophy of art.3Kantian aesthetic theory was not a theory of art.... It is primarily a theory of free beauty and of the sublime, of our responses to flowers and cascades and the starry sky at night.... [I]t is hotly disputed and probably false.... [T]he theory hardly suffices to characterize art in general, for the obvious reason that art as we know it is not divorced from the rest of society.4Therefore distinguishing between an aesthetic rationale for justifying school music and a philosophy of music education is vitally important. [End Page 99]The legitimation crisis facing music education in today’s schools (viz., declining schedules and resources) is one result of taken-for-granted belief by many teachers of music’s automatic aesthetic benefits as their supposition for advocating its inclusion in schooling. Such a tacit belief assumes, with Kant, that “being in an aesthetic state is as easy as rolling off a log, and, furthermore, it is available to everyone.”5 It supposedly occurs spontaneously in the presence of so-called “aesthetic properties.” According to analytic aesthetics, these properties qualify the “autonomania”6 (spelled incorrectly in the review) of music’s “for its own sake” value, and its “sacralization” (also misspelled) as a spiritual source of veneration. Unfortunately, the autonomy of school music from music’s social roots and role, under the aegis of an aesthetic paradigm, drastically limits its contribution to the general education of all students.Moreover, my position on what music “is” and “is good for” does not represent the “is/ought fallacy,” as Mantie mistakenly asserts.7 That fallacy in ethics depends on an unwarranted deduction from “is” (fact, description) to “ought” (value, norm)8 which is not at stake in my discussion. A Finnish child came home upset that he had left his “notes” on the tram. In English, he probably would have bemoaned leaving his “music” behind. Teachers who are content to stress mainly notation can miss “the music” (for example, what is meant when judging a performance to be unmusical). The “ersatz Kantian theory of art”9 postulates that art and music are created to evoke the aesthetic responses the theory hypothesizes (according to an aesthetic attitude, disinterestedness, free beauty, and many other putative criteria). When, instead, viewing music’s origins and purposes (for example, as in anthropology and ethnomusicology) as always social in meaning, consequences, and worth, then teaching that stresses music’s sociality (not its autonomy) is promoted and becomes a warranted curricular goal.Moreover, the aesthetic experiences postulated by aesthetic theory are covert, thus lacking empirical evidence of teaching or learning effectiveness, or for curricular planning! Their effects are just presumed. In praxis-based teaching, instead, results are amply observable to learners (thus motivating), to administrators (thus promoting curricular support), and to parents (thus for taxpayers). This is all the more the case when musicing is chosen as “worthwhile” (that is, literally, “good time”) after school and graduation: the ongoing disposition to engage in musicing is thus my praxial definition of music appreciation. All this is argued in my book, but is neglected in the review, except where, in minimizing the effects of the resulting legitimation crisis facing music educators, Mantie concedes that school music has “almost always been contested and fragile”10—as though it has not progressively suffered from recent trends (No Child Left Behind Act in the US, common core, testing mania, and so on). [End Page 100]Mantie proposes that because musical praxes exist in society does not justify their inclusion as part of school music.11 That leaves out a lot of commonplace... (shrink)

The ‘music appreciation as contemplation’ paradigm of traditional aesthetics and music education assumes that music exists to be contemplated for itself. The resulting distantiation of music and music education from life creates a legitimation crisis for music education. Failing to make a noteworthy musical difference for society, a politics of advocacy attempts to justify music education. Praxial theories of music, instead, see music as pragmatically social in origin, meaning, and value. A praxial approach to music education stresses that appreciation is (...) seen in use; thus, it seeks to ‘make a difference’ that students and society find musically noteworthy. (shrink)

The ‘music appreciation as contemplation’ paradigm of traditional aesthetics and music education assumes that music exists to be contemplated for itself. The resulting distantiation of music and music education from life creates a legitimation crisis for music education. Failing to make a noteworthy musical difference for society, a politics of advocacy attempts to justify music education. Praxial theories of music, instead, see music as pragmatically social in origin, meaning, and value. A praxial approach to music education stresses that appreciation is (...) seen in use; thus, it seeks to ‘make a difference’ that students and society find musically noteworthy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Philip Alperson, “Robust Praxialism and the Anti-aesthetic Turn”Thomas A. RegelskiDue to space limitations, only a few points of Philip Alperson’s paper can be briefly addressed.1Concerning praxialism, Alperson confirms that regarding “music as a species of art” leaves out much of what music has to offer. He acknowledges that “music is produced and enjoyed in a wide range of contexts and circumstances in which music can be (...) understood as having many different kinds of functions” and that it “comprises a network of multiple overlapping and at times even conflicting sub-practices” worthy of preservation and transmission via education. Yet these diverse but central praxial functions have been ignored, even denigrated, by traditional aesthetics and music education philosophy predicated on aesthetics.In contrast, Alperson notes that praxial philosophy argues inductively from the empirical evidence of music’s many functional values. Thus, he argues, philosophical inquiry should start with the ample evidence of music’s praxial diversity instead of “attempting a totalizing account of the philosophy of music education based on some essentialized notion of music.” [End Page 196]Yet his “robust praxialism” is predicated on an essentialized notion: that music’s praxial appeal depends on its aesthetic essence. Despite frequent aesthetic qualifiers, he altogether fails to distinguish aesthetic experiences ontologically from prosaic experiences, aesthetic properties epistemologically from non-aesthetic properties, or aesthetic values from musical values or praxial benefits.2 Instead, he equivocates that “there are many ways to construe the idea of aesthetic experience and aesthetic qualities.”3Then he claims that, lacking aesthetic essentialism, the praxialism of David Elliott, Wayne Bowman, and Thomas Regelski fails to robustly account for why people are drawn to music.4 He ignores Elliott’s account of music’s capacity for eliciting affective experience and “flow”5 and fails to engage Bowman’s arguments against the philosophical imprecision of aesthetic theorizing. Against these straw-man tactics, I will briefly summarize why praxialism does without aesthetics.“Aesthetics” has traditionally been used to refer to (conflicting) theories of a transcendental, other-worldly ontology experienced contemplatively, via a disinterested aesthetic attitude, practiced competently by ideally informed listeners, in special moments of leisure. Praxialism eschews such metaphysical speculations and stresses music’s down-to-earth values, appeal, and pragmatic benefits. Thus, a more robust rationale and pragmatic basis for music education results that is intelligible to music teachers, students, and society.For praxial theory, meaning, value, and appreciation are seen in use. Following Wittgenstein, “we don’t start from certain words”—that is, from aesthetic terms— “but from certain occasions or activities”—respectively, from particular musical practices. “Appreciation” is thus shown empirically by people’s musical choices.6Secondly, praxialism dispenses with aesthetics because, as Alperson admits, the many terms, concepts, and speculative aporia7 upon which conventional aesthetics depends are irreparably contested.8 Aestheticians agree on just about nothing!9 In fact, Alperson himself critiques the leading schools of aesthetics. However, analytic philosophers increasingly have noted the problems of aesthetics; 10 have criticized aesthetics for lacking philosophical substance and rigor;11 and one concludes that, “viewed as a univocal concept, aesthetic experience seems too confused to be redeemed as useful”12 and thus deserves critique.13Concerning the relevance of aesthetics, Christopher Small writes of a history of musical aesthetics:14[I]t bore very little relation to anything I recognized in my own musical experience, as listener, or as performer, or as composer.... I just could not make myself believe that so universal, and so concrete a human practice as music should need such complicated and abstract explanations.15 [End Page 197]Philosopher Michael Proudfoot agrees thatsuch an inadequacy to our experience of art has been evident, a result, I believe, partly of aestheticians’ preoccupation with what it is to treat something ‘aesthetically’, and partly from a concentration on works of art in isolation from the circumstances in which they are actually created or appreciated.16Alperson does acknowledge music’s praxial circumstances, but argues that “it is possible to save the idea of aesthetic experience and the attitude appropriate to its contemplation by widening the range of what might be thought to be a candidate for appreciation... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On "Methodolatry" and Music Teaching as Critical and Reflective Praxis Thomas Regelski State University of New York, Fredonia Introduction: Professions and Professionalism Most teachers, including those in music, like to think of themselves as professionals. However, the "professionalization" of teachers traced by sociology generally refers to only the transition early in the twentieth century from two years ofteacher preparation in normal schools to four years in newly (...) created professional schools, departments, orprogramsofeducationinuniversities. Traditional sociological theory still considers teaching to be at best a "semiprofession."1 In the "ideal" descriptionofsociologist Max Weber, professionals shared these traits: They were self-employed providers of services, diey entered dieir profession because diey were 'called' to it out of some deep personal commitment, and dieir qualifications were based upon tiieir possessionof'expert' andesotericknowledge. In addition, dieir knowledge base could be acquired only by a select few who underwent long and rigorous study. Their services dealt widi serious, often life or deadi matters, and dieywere remunerated by fees from clients. Communication between professionals and dieir clients was legally privileged so uiat courts oflaw could not require its disclosure. Most important, entrance to mese professions was controlled by professional peers, who set requirements for entry, training, and certification. Boards ofpeers also developed reviewprocesses to maintain standards and competence. 2 A further criterion of a true profession is that praxis3 relies upon underlying theory4 and the fundofwidelyacceptedpractice-basedknowledge generated by theory that is required to deal with the extensive variety ofpredictably unique problems and needs presented by those served. Teaching clearly deviates substantially from these conditions. The theory serving as the basis of any profession is not amatterofsimple speculation; it is rooted in research and theoretical principles-fundamentals that importantly include commonly recognized and accepted action ideals of the profession's ethical and other guiding philosophicalconsiderations. Uponsuchtheoretical bases, professional praxis generates ever-new praxial knowledge. Because ofthe particulars of the situatedness governing both the practitioner andthose served, praxis-based knowledge always takes idiosyncratic form for a particularpractitioner -but, importantly, within the general theoretical, ethical, and philosophical stance ofthe profession. As a result, there are no "standard results " for any practitioner or for the overall profession. Furthermore, there are no standard methods ;just "standards ofcare" rooted in the profession 's theoretical and ethical premises. Music educationhas evolvedno such shared action ideals concerning ends and so the issue of theory-guided practice or of a professional ethic remainsambiguous, evencontroversial.1 Without professionally based consensus on ends, no stable criteria exist for selecting means and evaluating results and, thus, no ethic of accountability can apply. As aconsequence, results areconsiderably unpredictable-and not infrequently negative-and the appropriateness and usefulness ofmuch what is taught and learned is regularly disputed. This is not at all to say or to argue that music education has historically brought about mainly negative results, or that individual music©Philosophy ofMusic Education Review 10, no. 2 (Fall 2002): 102-123. Thomas Regelski 103 teachers are never successful. It wouldbe wrongheaded not to acknowledge the existence ofmuch well-intentioned, hardworkby individual teachers who are both musically competent and 'naturals' in working with students. This paper addresses instead mainly structural weaknesses in the field of music education that result in it as a field falling far short of at least the general kinds of professionalism found in helping professions. The comparisons made here to helping professions are made only in a very general way. However, overall, the field ofmusic education fails to compare well with the most obvious traits of familiar professions. As shall be argued, judgments concerning successful practice in music education should depend in large part on criteria provided by theoretically substantiated auricular goals and ideals and by implied and explicit process criteria of both an ethical and practical nature.6 Lacking such criteria, the question or degree of teaching success remains vague. As a result music education fails to promote predictable and pragmatic "right results" that students, parents, and the public at large can easily recognize as the professional "value-added" to general education and society by music education and this creates the increasing need foradvocacyofschool music. Philosophy, Theory, and Professional Praxis Whetherornot teachingcan everfullymeet the sociological conditions ofbeing a true profession, it would profit from and... (shrink)

Music teachers are often inclined to advocate the aesthetic value of music that is uncritically propagated by their conservatory training.1 Consequently, a host of misleading assumptions that music is a "fine" art that exists solely to promote aesthetic experience is simply taken for granted as the benefits of art and music education—thus ignoring the differences of purpose between school music and university-level training. Just offering routine musical activities and performances is thereby assumed to kindle students' aesthetic appreciation. Whether the experiences (...) provided have led to an enriched life of playing and enjoying... (shrink)

This title was first published in 2002. This book builds on contemporary discussion of 'mysticism' and religious experience by examining the process and content of 'religious knowing' in classical and modern Advaita. Drawing from the work of William Alston and Alvin Plantinga, Thomas Forsthoefel examines key streams of Advaita with special reference to the conditions, contexts, and scope of epistemic merit in religious experience. Forsthoefel uniquely employs specific analytical categories of contemporary Western epistemologies as heuristics to examine the cognitive (...) dimension of religious experience in Indian Vedanta. Showing the developing nuances in the analysis of religious experience in the thought of Shankara and his immediate disciples (Suresvara and Padmapada) as well as in the teaching of Ramana Maharshi, an understudied but important South Indian saint of the 20th century, this book offers a substantial contribution to studies of Indian philosophy as well as to contemporary philosophy of religion. Using the tools of exegesis and comparative philosophy, Forsthoefel argues for a careful justification of claims following religious experience, even if such claims involve, as they do in the Advaita, a paradoxical 'knowing beyond knowledge'. (shrink)

Fragt man heute Vertreter verschiedener Disziplinen nach der Bedeutung des Hannoveraner Universalgelehrten Gottfried Wilhelm Leibniz, so hort man jeweils immer wieder: Leibniz hat Bedeutendes fur unser Fach geleistet. Leibniz beeindruckt nicht nur durch die Exzellenz seiner Leistung, sondern auch durch die Breite seiner Betatigungsfelder. Der aus einer Ringvorlesung an der Leibniz Universitat Hannover hervorgegangene Band fuhrt nun an die Vielfalt der von Leibniz ausgehenden der Leistungen und Anregungen heran. Insbesondere behandeln die Beitrage die Bedeutung von Leibniz fur die Geschichtswissenschaft, die (...) Theologie, die Philosophie, die Rechtswissenschaft und Juristerei, die Politikberatung, das Versicherungswesen, die Mathematik, die Ingenieurwissenschaften und die Sprachwissenschaft. Abgerundet wird der Band durch eine Einfuhrung von Werner Eisner und eine biographische Skizze aus der Feder von Eike Christian Hirsch. (shrink)

Metzger continues the effort started in _A Cloud Across the Pacific_ (The Chinese University Press, 2005) by viewing modern Chinese thought as political philosophy; placing it in a sociological context, noting its causal relationship with paideia; examining its historical context by emphasizing the lines of continuity with the Confucian tradition; and exploring its comparative context by describing it as sharing an agenda with and diverging from the leading forms of Western liberalism. East and West, he argues, are ivory towers that (...) use their rationalistic philosophies to insist that the great disasters of history are caused mainly by the bad decisions of political leaders, instead of seeing how their own philosophical discourses lend credibility to these decisions and trying to improve these discourses by uncovering their culturally inherited premises. In an increasingly democratic era when political philosophy is no longer viable as a theory of global-political evolution and as public criticism increasingly affects leadership decisions, Metzger seeks to vindicate a neo-Hegelian definition of political philosophy as the effort to influence public criticism by advertising an outlook more logically and thoroughly supported by a variety of cross-cultural textual evidence. (shrink)

Ancient Greek Philosophy: From the Presocratics to the Hellenistic Philosophers presents a comprehensive introduction to the philosophers and philosophical traditions that developed in ancient Greece from 585 BC to 529 AD. Provides coverage of the Presocratics through the Hellenistic philosophers Moves beyond traditional textbooks that conclude with Aristotle A uniquely balanced organization of exposition, choice excerpts and commentary, informed by classroom feedback Contextual commentary traces the development of lines of thought through the period, ideal for students new to the discipline (...) Can be used in conjunction with the online resources found at http://tomblackson.com/Ancient/toc.html. (shrink)

Examines the relationship between the question of God and the destiny of metaphysics. Concept of the end of metaphysics; Ambiguous relation between phenomenology and metaphysics; Return of special metaphysics in phenomenology; Phenomenological figure of God. Examines the relationship between the question of God and the destiny of metaphysics. Concept of the end of metaphysics; Ambiguous relation between phenomenology and metaphysics; Return of special metaphysics in phenomenology; Phenomenological figure of God.

Non-epistemic values play important roles in classificatory practice, such that philosophical accounts of kinds and classification should be able to accommodate them. Available accounts fail to do so, however. Our aim is to fill this lacuna by showing how non-epistemic values feature in scientific classification, and how they can be incorporated into a philosophical theory of classification and kinds. To achieve this, we present a novel account of kinds and classification, discuss examples from biological classification where non-epistemic values play decisive (...) roles, and show how this account accommodates the role of non-epistemic values. (shrink)

In Plato’s Protagoras, Socrates argues that ‘the many’ are confused about the experience they describe as ‘being overcome by pleasure’. They think the cause is ‘something other than ignorance’. He argues it follows from what they believe that the cause is ‘ignorance’ and ‘false belief’. I show that his argument depends on a premise he does not introduce but they should deny: that when someone is overcome by pleasure, the desire stems from a belief. To explain why Plato does not (...) make Socrates introduce this premise, the account I construct is speculative. It starts from the assumption that Plato is thinking through an understanding of human beings and what they must do to live good lives that he takes the historical Socrates to set out. (shrink)

Natural kinds are often contrasted with other kinds of scientific kinds, especially functional kinds, because of a presumed categorical difference in explanatory value: supposedly, natural kinds can ground explanations, while other kinds of kinds cannot. I argue against this view of natural kinds by examining a particular type of explanation—mechanistic explanation—and showing that functional kinds do the same work there as traditionally recognized natural kinds are supposed to do in “standard” scientific explanations. Breaking down this categorical distinction between traditional natural (...) kinds and other kinds of kinds, I argue, delivers two goods: It provides us with a view of natural kindhood that does justice to the epistemic roles of kinds in scientific explanations. And it allows us to solve a problem that HPC theory, currently one of the more popular accounts of natural kindhood, confronts. (shrink)

Keith DeRose gives an invalid argument for contextualism in “Assertion, Knowledge, and Context.” In section 2.4, entitled “The Argument for Contextualism,” DeRose makes the following remarks. “The knowledge account of assertion provides a powerful argument for contextualism: If the standards for when one is in a position to warrantedly assert that P are the same as those that comprise a truth-condition for ‘I know P,’ then if the former vary with context, so do the latter. In short: The knowledge account (...) of assertion together with the context-sensitivity of assertability yields contextualism about knowledge”. (shrink)

Natural kinds are often contrasted with other kinds of scientific kinds, especially functional kinds, because of a presumed categorical difference in explanatory value: supposedly, natural kinds can ground explanations, while other kinds of kinds cannot. I argue against this view of natural kinds by examining a particular type of explanation—mechanistic explanation—and showing that functional kinds do the same work there as traditionally recognized natural kinds are supposed to do in “standard” scientific explanations. Breaking down this categorical distinction between traditional natural (...) kinds and other kinds of kinds, I argue, delivers two goods: It provides us with a view of natural kindhood that does justice to the epistemic roles of kinds in scientific explanations. And it allows us to solve a problem that HPC theory, currently one of the more popular accounts of natural kindhood, confronts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis by Thomas A. RegelskiRoger MantieThomas A. Regelski, A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis (New York: Routledge, 2016)ANSWERS WITHOUT QUESTIONSThomas Regelski has earned a place as a major figure in music education, if for no other reason than his role as co-convener of the (...) MayDay Group in 1993. Regelski’s contributions to the profession, however, go much beyond the MayDay Group. His many books and articles provide both practical advice and suggestions for music teachers as well as rigorous discussions of important issues for scholars. He is among the most frequently cited authors in music education today and I count myself among those who have been deeply impacted by his work.1Those familiar with Regelski’s oeuvre and the history of the MayDay Group know that “praxial philosophy” has been his central concern since the early 1990s. The idea of praxialism, a term more or less invented by a small group of music education academics,2 has been driven, at least in part, by a desire to counter what has been considered (by some) to be the music education profession’s misguided adherence to and emphasis on “music education as aesthetic education,” particularly as an outgrowth of its Charles Leonard-Bennett Reimer [End Page 213] lineage.3 Along with contemporaries Philip Alperson, Wayne Bowman, and David Elliott (among others), Regelski has been a major voice in adopting and adapting ancient Greek (especially Aristotelean) thought in order to challenge the presupposition, predominant in twentieth-century academic discourse, that a (or the) philosophy of music education should unquestioningly derive from philosophies of art or aesthetics. Through the deployment of concepts such as theoria, techne, poiesis, phronesis, and especially, praxis, Regelski has, along with a cadre of like-minded thinkers, attempted, in the tradition of Christopher Small, to encourage educators to place greater emphasis on the social aspects of music making rather than on the so-called “aesthetic properties” of the music itself. For almost three decades, Regelski has been consistent, if not relentless in his promotion of all things “praxial.”A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis (hereafter A Brief Introduction) comprises seven short chapters. The first three (Part One: Ideology Critique) provide an historical, if editorialized, overview of the history of aesthetics, from its ancient Greek origins in aisthesis to what Regelski calls today’s “aesthetic rationale” for music education. The last four chapters (Part Two: Theory into Praxis and Praxis Informed by Theory) provide arguments for why a praxial philosophy provides a superior basis for music education, along with illustrations of what music teaching based on praxialism might look like in practice. Readers already acquainted with Regelski’s previous writings are unlikely to find anything new in A Brief Introduction. Many of the book’s themes, such as “automania,” “sacrilization of music,” “legitimation crisis,” “pragmatic difference,” “action learning,” and “breaking 100” will be familiar to those who have read his essays over the years. A Brief Introduction, however, is not intended for those already familiar with his previous writings, but for newcomers, such as upper level undergraduates, for whom A Brief Introduction provides, as the title appropriately suggests, a succinct summary of his ideas distilled into just over a hundred pages. Rather than a stand-alone textbook, Regelski imagines the book as a “complement” to other courses, such as introductory classes in music education, conducting classes, instrumental method courses, and so on. Although not stated explicitly, much of the book’s content is relevant primarily (though perhaps not exclusively) for an American/Canadian readership.Regelski explains from the outset that the ideas in the book “are intended as a corrective to current practices and traditions in music teaching” (xx), ones he considers based upon and reflective of “aesthetic ideology.” As he explains, he wishes to operate in the tradition of Critical Theory, where ideology means the imposition of a dominant group’s values over a subordinate group. Although he never discusses processes of social reproduction, established norms and practices [End Page 214] in institutional... (shrink)

The Genesis of God: A Theological Genealogy. By Thomas J.J. Altizer. Louisville: Westminster/John Knox Press, 1993. pp.200.

Business schools play an instrumental role in laying the foundations for ethical behavior and socially responsible actions in the business community. Drawing on social learning and identity theories and using data collected from undergraduate business students, we found that ethical climate was a significant predictor of unethical behavior, such that students with positive perceptions about their business school’s ethical climate were more likely to refrain from unethical behaviors. Moreover, we found that high moral and institutional identities strengthened the effect of (...) ethical climate on unethical behavior. In addition to novel theoretical contributions to the business ethics and socio-psychology literature, this study offers practical pathways through which business schools can nurture and instill the values and behaviors that ultimately help shape positive organizational ethics. Directions for future research are provided. (shrink)

In Plato’s Gorgias, Socrates says to Callicles that “your love of the people, existing in your soul, stands against me, but if we closely examine these same matters often and in a better way, you will be persuaded” (513c7–d1). I argue for an interpretation that explains how Socrates understands Callicles’s love of the people to stand against him and why he believes examination often and in a better way will persuade Callicles.

Keith DeRose gives an invalid argument for contextualism in “Assertion, Knowledge, and Context.” In section 2.4, entitled “The Argument for Contextualism,” DeRose makes the following remarks. “The knowledge account of assertion provides a powerful argument for contextualism: If the standards for when one is in a position to warrantedly assert that P are the same as those that comprise a truth-condition for ‘I know P,’ then if the former vary with context, so do the latter. In short: The knowledge account (...) of assertion together with the context-sensitivity of assertability yields contextualism about knowledge”. (shrink)

While evolutionary thinking is increasingly becoming popular in fields of investigation outside the biological sciences, it remains unclear how helpful it is there and whether it actually yields good explanations of the phenomena under study. Here we examine the ontology of a recent approach to applying evolutionary thinking outside biology, the generalized Darwinism approach proposed by Geoffrey Hodgson and Thorbjørn Knudsen. We examine the ontology of populations in biology and in GD, and argue that biological evolutionary theory sets ontological criteria (...) that GD fails to meet. We suggest two options to revise the population concept in GD: reformulating the concept in terms of inheritance and reproduction such that it comes to pick out individuals similar to evolving populations, or trying to build an adequate population concept on a principle of differential retention instead of differential reproduction. 1 Introduction2 Generalized Darwinism2.1 What is generalized Darwinism?2.2 Darwinian principles3 The Ontology of Generalized Darwinism: What Are Populations?3.1 The population concept of generalized Darwinism3.2 The population concept in evolutionary theory4 Locating Evolving Systems in Generalized Darwinism5 Conclusion. (shrink)

BackgroundDespite rapid growth of the scientific literature, no consensus guidelines have emerged to define the optimal criteria for editors to grade submitted manuscripts. The purpose of this project was to assess the peer reviewer metrics currently used in the surgical literature to evaluate original manuscript submissions.MethodsManuscript grading forms for 14 of the highest circulation general surgery-related journals were evaluated for content, including the type and number of quantitative and qualitative questions asked of peer reviewers. Reviewer grading forms for the seven (...) surgical journals with the higher impact factors were compared to the seven surgical journals with lower impact factors using Fisher’s exact tests.ResultsImpact factors of the studied journals ranged from 1.73 to 8.57, with a median impact factor of 4.26 in the higher group and 2.81 in the lower group. The content of the grading forms was found to vary considerably. Relatively few journals asked reviewers to grade specific components of a manuscript. Higher impact factor journal manuscript grading forms more frequently addressed statistical analysis, ethical considerations, and conflict of interest. In contrast, lower impact factor journals more commonly requested reviewers to make qualitative assessments of novelty/originality, scientific validity, and scientific importance.ConclusionSubstantial variation exists in the grading criteria used to evaluate original manuscripts submitted to the surgical literature for peer review, with differential emphasis placed on certain criteria correlated to journal impact factors. (shrink)

Organizational ecology is commonly seen as a Darwinian research program that seeks to explain the diversity of organizational structures, properties and behaviors as the product of selection in past social environments in a similar manner as evolutionary biology seeks to explain the forms, properties and behaviors of organisms as consequences of selection in past natural environments. We argue that this explanatory strategy does not succeed because organizational ecology theory lacks an evolutionary mechanism that could be identified as the principal cause (...) of organizational diversity. The “evolution” of organizational populations by means of selection, which organizational ecologists put forward as the mechanism responsible for the extant diversity of organizational forms, is not evolution in any proper sense, because organizational populations do not have what it takes to participate in evolutionary processes. This implies that organizational ecology is not a Darwinian research program and that it cannot explain organizational diversity. (shrink)

Beginning with a Cuban Catholic ritual in Miami, this book takes readers on a momentous theoretical journey toward a new understanding of religion.

Species in biology are traditionally perceived as kinds of organisms about which explanatory and predictive generalizations can be made, and biologists commonly use species in this manner. This perception of species is, however, in stark contrast with the currently accepted view that species are not kinds or classes at all, but individuals. In this paper I investigate the conditions under which the two views of species might be held simultaneously. Specifically, I ask whether upon acceptance of an ontology of species (...) as diachronic segments of the tree of life species can perform the epistemic role of kinds of organisms to which explanatory and predictive generalizations apply. I show that, for species-level segments of the tree of life, several requirements have to be met before the performance of this epistemic role is possible, and I argue that these requirements can be met by defining species according to the Composite Species Concept proposed by Kornet and McAllister in the 1990s. (shrink)

Early last year, the GenEthics Consortium (GEC) of the Washington Metropolitan Area convened at George Washington University to consider a complex case about genetic testing for Alzheimer disease (AD). The GEC consists of scientists, bioethicists, lawyers, genetic counselors, and consumers from a variety of institutions and affiliations. Four of the 8 co-authors of this paper delivered presentations on the case. Supplemented by additional ethical and legal observations, these presentations form the basis for the following discussion.

There is an interesting parallel between two debates in different domains of contemporary analytic philosophy. One is the endurantism– perdurantism, or three-dimensionalism vs. four-dimensionalism, debate in analytic metaphysics. The other is the debate on the species problem in philosophy of biology. In this paper I attempt to cross-fertilize these debates with the aim of exploiting some of the potential that the two debates have to advance each other. I address two issues. First, I explore what the case of species implies (...) regarding the feasibility of particular positions in the endurantism– perdurantism debate. I argue that the case of species casts doubt on the recent claim that three-dimensionalism and four-dimensionalism are equivalent descriptions of the same underlying reality. Second, and conversely, I examine whether the metaphysical worry about three-dimensionalism and four-dimensionalism can help us to better understand the nature of biological species. I show that analyzing the thesis that species are individuals against the background of the endurantism– perdurantism debate allows us to explicate two different ways in which this thesis can be interpreted. (shrink)