For all his peculiarities, man is not the only animal who knows. But he is, as far as it is possible to judge, the only animal who knows that he knows, and who seeks to understand the nature and meaning of the act of knowing itself. Michael Polanyi has been engaged in this search for more than twenty years, and the book here under review is an ‘interim report’ on the development of his thought since the publication of Personal (...) Knowledge and The Study of Man just ten years ago. Its three short chapters are substantially the Terry Lectures which he delivered at Yale University in 1962. This review will attempt no more than to summarise the central theme of Polanyi’s argument. A detailed, critical analysis of its philosophical significance is beyond the competence of a biologist. (shrink)

This collection of essays celebrates the seventieth birthday of one of the great scientist-philosophers of the century. The list of subscribers in the front of the book contains the names of some of the most distinguished scientists, academics, writers and educators living today, not to mention the names of organizations like the Fund for the Republic and the Congress for Cultural Freedom, and of more than twenty universities, colleges and research institutes throughout the world. In all, one hundred and seventy-eight (...) names, a unique tribute to a remarkable man whose contributions to science, philosophy, sociology and that frontier region between science and religion, comprise one of the major intellectual achievements of our time. (shrink)

Engaging a broad range of Platonic dialogues, this collection of essays by distinguished scholars in political theory and philosophy explores the relation of Socratic philosophizing to those activities with which it is typically opposed—such as tyranny, sophistry, poetry, and rhetoric. The essays show that the harder one tries to disentangle Socrates’ own activity from that of its apparent opposite, the more entangled they become; yet, it is only by taking this entanglement seriously that the distinctive character of Socratic philosophy emerges. (...) The collection sheds new light on the ways in which Plato not only represents philosophy in relation to what it is not, but also makes it “strange” to itself. (shrink)

The eight pieces constituting this Meeting Report are summaries of presentations made during a panel session at the 2011 Association for Practical and Professional Ethics (APPE) annual meeting held between March 3rd and 6th in Cincinnati. Lisa Newton organized the session and served as chair. The panel of eight consisted both of pioneers in the field and more recent arrivals. It covered a range of topics from how the field has developed to where it should be going, from identification of (...) issues needing further study to problems of training the next generation of engineers and engineering-ethics scholars. (shrink)

Physiological concentrations of retinoic acid can induce acute alterations in the expression of the enzyme tissue transglutaminase in cultured macrophages. The induction of this enzyme offers a probe to study the mechanism of retinoid action in both normal and leukemic cells.

What is it about the nature of "soul" that makes it so difficult to adequately capture its complexity in a strictly discursive account? Why do some of the most profound human experiences elude our attempts to theorize them? How can a written document do justice to the dynamic activity of thinking, as opposed to merely presenting a collection of thoughts-as-artifacts? Finally, what can we learn about the activity of philosophizing, and about the human soul, by reflecting on the possibilities and (...) limitations of writing? These concerns, in various forms and in different registers, have preoccupied Michael Davis throughout his distinguished career. This volume is in honor of, and in dialogue with, Davis's work, which spans ancient philosophy and literature, continental philosophy and political philosophy. It includes original essays by numerous distinguished scholars in the fields of philosophy and political science. The remarkable range and caliber of the contributions attest to the breadth and depth of Davis's influence. The essays in Part I of the volume explore the nature of soul through the lens of tragedy. Part II consists of three essays that explore the human longing for perfect knowledge and completion--and the obstacles to the fulfilment of that longing--in relation to the divine. In Part III, the essays address the distinctive challenges of the political sphere and philosophy's relation to it. And while the relationship between philosophy and poetry is an implicit theme throughout the volume, the essays in Part IV focus directly on philosophy's aestheticizing tendencies. Many different philosophical and literary works are discussed throughout these chapters, including ancient works such as Plato's Republic, Euthydemus and Laws, Homer's Iliad, and Euripides' Trojan Women, as well as works by modern philosophers such as Rousseau, Kant, Hegel, Kierkegaard and Nietzsche. In addition, three essays analyze some of Shakespeare's plays in relation to the thought of Plato and Machiavelli. All of the essays are thematically linked by a common thread as they attend to the poetic dimension of philosophical thinking. Michael Davis is Professor of Philosophy at Sarah Lawrence College, where he has taught since 1977 and has been the Sarah Yates Exley Chair in Teaching Excellence (2003-2005). He has also taught on the graduate faculty at Fordham University and the New School for Social Research. He is the author of numerous articles and books, which include: Ancient Tragedy and the Origins of Modern Science; The Poetry of Philosophy: On Aristotle's Poetics; The Politics of Philosophy: A Commentary on Aristotle's Politics; The Autobiography of Philosophy; Rousseau's The Reveries of the Solitary Walker; Wonderlust: Ruminations on Liberal Education; and The Soul of the Greeks: An Inquiry. He is also co-translator (with Seth Benardete) of Aristotle's On Poetics. Contributors include: Abraham Anderson, Jonathan Badger, Robert Berman, Ronna Burger, Kenneth DeLuca, Gwenda-lin Grewal, Scott Hemmenway, Paul Kirkland, Mary Nichols, Denise Schaeffer, Paul Stern, Richard Velkley, Lisa Pace Vetter, Ann Ward, Lee Ward, Catherine Zuckert and Michael Zuckert. About the Editor: Denise Schaeffer is Professor of Political Science at the College of the Holy Cross. She is the author of Rousseau on Education, Freedom and Judgment and contributing co-editor (with Christopher Dustin) of Socratic Philosophy and Its Others. She is co-editor (with Gregory McBrayer and Mary P. Nichols) of the Focus Philosophical Library edition of Plato's Euthydemus, for which she authored the Introduction and co-authored the Interpretive Essay. (shrink)

We present a one per cent measurement of the cosmic distance scale from the detections of the baryon acoustic oscillations in the clustering of galaxies from the Baryon Oscillation Spectroscopic Survey, which is part of the Sloan Digital Sky Survey III. Our results come from the Data Release 11 sample, containing nearly one million galaxies and covering approximately 8500 square degrees and the redshift range 0.2 < z < 0.7. We also compare these results with those from the publicly released (...) DR9 and DR10 samples. Assuming a concordance Λ cold dark matter cosmological model, the DR11 sample covers a volume of 13 Gpc3 and is the largest region of the Universe ever surveyed at this density. We measure the correlation function and power spectrum, including density-field reconstruction of the BAO feature. The acoustic features are detected at a significance of over 7σ in both the correlation function and power spectrum. Fitting for the position of the acoustic features measures the distance relative to the sound horizon at the drag epoch, rd, which has a value of rd,fid = 149.28 Mpc in our fiducial cosmology. We find DV = at z = 0.32 and DV = at z = 0.57. At 1.0 per cent, this latter measure is the most precise distance constraint ever obtained from a galaxy survey. Separating the clustering along and transverse to the line of sight yields measurements at z = 0.57 of DA = and H =. Our measurements of the distance scale are in good agreement with previous BAO measurements and with the predictions from cosmic microwave background data for a spatially flat CDM model with a cosmological constant. © 2014 The Author Published by Oxford University Press on behalf of the Royal Astronomical Society. (shrink)

In her paper, “The Doctrine of Double Effect: Problems of Interpretation,” Nancy Davis attempts to find an interpretation of the means-end relationship that would provide a foundation for the Doctrine of Double Effect (DDE) and its reliance on the distinction between what an agent intends or brings about intentionally and what that agent merely foresees will result from his/her action, but does not intend (or bring about intentionally). Davis’s inability to find such an interpretation lessens the plausibility of the view (...) that theDDE is an acceptable moral doctrine. In the present paper, it is suggested that Davis’s inability to find an interpretation of the means-end relationship that will support the DDE results from her assumption that an agent must intend to produce whatever he/she produces intentionally. Borrowing an argument from Michael Bratman, this article shows that Davis’s assumption is false. Thatrealization paves the way toward a defense of the DDE. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.1 (2004) 218-220 [Access article in PDF] The German Aesthetic Tradition, by Kai Hammermeister; xv & 259 pp. Cambridge: Cambridge University Press, 2002, $22 paper. In some ways, aesthetic theory has become a thing of the past. With the exception of a kind of fascination with works such as T. W. Adorno's Aesthetic Theory, aesthetics, as a project or tradition, has surrendered its once monolithic and (...) grandiose position as the philosophical contemplation of art and the notion of artistic beauty to more diminutive fields such as literary theory, poetics, and cultural studies. In some ways, this is due to the very function of aesthetics: the philosophical investigation not simply of what is beautiful, but the formulation of prescriptive ideas about works of art and the judgment them according to these prescriptive ideas. This, in turn, has been looked upon with a certain degree of scorn with the rise of a more pluralistic art world, and the bold denial that art needs the guidance of philosophy let alone have any prescriptive function or be able to be classified as "good" or "bad."However, Kai Hammermeister's The German Aesthetic Tradition takes a very different view. A bold and difficult project, Hammermeister traces the complex and often abstruse contours of German aesthetic philosophy from its inception with Baumgarten in the eighteenth century through Adorno in the twentieth. In the process, he not only provides us with an excellent historical-philosophical account of the development of German aesthetic philosophy, he also implicitly argues for the relevance of aesthetics as a way not only of comprehending art, but of understanding the cohesive links between art, society, culture, and philosophy.The German aesthetic tradition, as Hammermeister refers to it, was a prolonged intellectual argumentation with classical conceptions of art and beauty inherited from classical Greek thought during the eighteenth century. Classical aesthetics was dominated by two opposing conceptions of art and its function. For Plato, art mirrored the outside world (mimesis) and the judgement of good works of art was based on how well this mirroring of the objective world was carried out. Aristotle's idea was that art served a purgatory function (katharsis), cleansing the emotions of the individual through the identification of the observer with the work of art. All of the thinkers in the German tradition [End Page 218] wrestle with this dual conception of art, in some form privileging one over the other—or, more often than not, combining them and extending their explanatory reach. But as in any tradition, they also struggle with the ideas and philosophies of previous thinkers within the tradition itself, making Hammermeister's task more complex. Yet it is one that he handles with adroitness and precision.The book's overarching argument and structure is triadic. Hammermeister sees the eighteenth century through German Idealism and Romanticism as articulating a set of different paradigms for interpreting art. These are subsequently attacked in post-Hegelian philosophy, and are then revived in different ways in the twentieth century as a reaction to Nietzsche's aestheticization of philosophy. Two paradigms emerge as central for the subsequent unfolding of the tradition. First, there is Immanuel Kant's conception of art as a wholly separate from epistemology and from morality. For Kant, the work of art is centered in the experience of the subject and, in terms of form, exists outside its social context. This Hammermeister calls the "first strong paradigm of aesthetics" (p. 40). Next, there is the position of Friedrich Schiller who sees a connection between the work of art and culture, thought, and morality. Schiller writes that, "the culture of beauty demonstrates the freedom of man to turn himself into whatever being he envisions while remaining under the law of morality" (p. 57). For Schiller, there exists a kind of spillover effect of art into other domains of human thought and action—specifically in morality and politics—and this represents a crucial deviation from Kant's paradigm, and another tendency within the tradition of German aesthetics; that is, the aestheticization of other domains of human existence.Schelling and Hegel represent two other... (shrink)

where, according to Schiffer, the concept of an F is pleonastic just in case the concept itself licenses entailments of the form: S ⇒ ∃xFx. These are what he calls "somethingfrom-nothing" entailments and the various practices in which such entailments are made are what he calls "hypostatisizing practices" (p.57). The concept of a proposition is pleonastic, according to this definition, because it licenses the move from a claim like 'Fido is a dog,' a claim containing only the singular term 'Fido' (...) referring to Fido, to the claim 'It is true that Fido is a dog,' which is a claim that contains the singular term 'that Fido is a dog' referring to the proposition that Fido is a dog. (iv) Propositions are pleonastic entities, as anything that falls under a pleonastic concept is, by definition, a pleonastic entity. And (v) The nature of propositions, as pleonastic entities, is fully determined by the hypostatizing practices that are constitutive of the concept of a proposition together with those necessary a priori truths that are applicable to things of any kind. Schiffer's idea is thus that propositions are entities, but that they are entities of a particularly insubstantial kind, as they have no hidden nature waiting to be discovered by.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art as PerformanceMichael WehArt As Performance, by David Davies. Oxford: Blackwell Publishing, 2004, 278 pp.If we accepted the claims that David Davies makes in his Art as Performance, we would have to rigorously revise our conception of what kinds of entities artworks are. Art as Performance is a study in the ontology of art, and whereas other well-known theories about the ontological status of artworks say that artworks are (...) to be identified with, forexample, types, classes, or kinds, Davies holds that they are performances that lead to the production of a "focus of appreciation" — the latter being the objects we usually take to be artworks. So according to Davies, a painting presented in a museum or a novel we can buy in a bookshop is in fact not the artwork x.The artwork is rather the performance that cumulated in bringing x into existence.Davies characterizes our "common sense theory" of art as including views about the epistemology, ontology,axiology, and definition of art. It maintains that in order to appreciate an artwork, a direct experiential encounter with it is sufficient; that artworks are those things that are exhibited in our museums or performed on stages; that the value of artworks lies in immediately experiencing them; and that artworks differ from other objects by virtue of possessing aesthetic properties. But the common sense theory conflicts with many, if not most, of the art phenomena of the twentieth century. The puzzlement of audiences in the face of certain contemporary pieces of art is caused by the incompatibility of the common sense theory with those artworks. A philosopher of art can try to solve this problem by either accommodating modern art to the common sense theory or by dismissing the theory as inappropriate. With his performance theory, Davies goes for the [End Page 114] second option, while at the same time constraining his theory to the principle that an ontology of art should not contradict our dealing with art — at least after we have critically revised it — too excessively.Davies's first major step in elaborating his theory is a discussion of whether it is necessary to take contextual properties of artworks into account in order to be able to appreciate and understand them. Defenders of "aesthetic empiricism" (a term coined by Gregory Currie) deny that an artwork's history of production is relevant and would be the philosophical business partners of the common sense theory. According to empiricism, only an artwork's manifest properties matter. The context of an artwork's making is at best of art-historical interest. Building upon the works of Currie, Jerrold Levinson, Arthur Danto, and others, Davies forcefully argues against empiricism in defense of a contextualist epistemology of art. And since he takes an artwork's history of production to be epistemologically indispensable, Davies infers that it also has to be considered concerning the ontology of art.Davies's ontology of art is monistic. He claims that all artworks are not the products of creative activities, but rather "intentionally guided generative performances that eventuate in contextualized structures or objects...or events...performances completed by what I am terming a focus of appreciation" (p. 98). The focus of appreciation, in turn, is defined as "an artistic statement as articulated in an artistic medium realized in a vehicle" (p. 60). Davies understands an artistic medium as a set of social conventions or understandings of how to describe the way an artist articulated his statement — for example by manipulating a physical object. The vehicle can be — as in the case of painting — exactly that physical object, or, for example, an action in the case of conceptual art. The main point is that the focus of appreciation is not the artwork. The focus of appreciation — for example, the object Les Demoiselles d'Avignon — completes the performance that was carried out by the artist, and that performance is the artwork.If artworks are performances, it is clear that artworks possess the properties on whose existence contextualism insists and that are ignored by empiricism. But though Davies emphasizes the role of the properties an artwork has due to its provenance, he is also concerned about the weaknesses of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 171-173 [Access article in PDF] Book Review Literary Lives: Biography and the Search for Understanding Literary Lives: Biography and the Search for Understanding, by David Ellis; ix & 195 pp. New York: Routledge, 2000, $35. In his discussion of biography as a form, Ellis points to his study as a response to the scarcity of "monographs on biography... and [that] none of them are (...) particularly satisfactory" (p. 2). He further points out that "the comparative dearth of analytic enquiry into biography is surprising" (p. 3). In short, his first pages get off to a rocky start in their tatty justification of a critical study. Though a critic of D. H. Lawrence, Ellis uses the English writer sparingly, pointing out in his "Preface" what he feels is a need "to keep illustration involving Lawrence to a decent minimum" (p. viii) while concentrating on those problems which face the biographer. That said, he sets about to characterize biography as an integration of "a disinterested enthusiasm for information... [fashioning a]... compelling story in which many details with no direct relevance to the life of his subject can be considered as contributing successfully to a period atmosphere" (p. 35). Ellis is thinking specifically of Norman Sherry's biography of Graham Greene through which he has brought to the discussion his intent of pointing to an approach which concerns itself with chapters on "Ancestors," "Primal Scenes," "Body Matters," "the Sociological [End Page 171] Imagination," "History, Chance and Self-determination," "Compatibility, Sartre and Long Biographies." All are aspects of biography.As well as the approach he suggests by these areas of concentration, Ellis draws broadly from many subjects of biography, always keeping a critical eye on its form. Anne Stevenson's approach "is towards psychological determinism" (p. 135); Ackroyd in his biography of Dickens raises "through a degree of intellectual play" the questions of when "lineage" is appropriate, that is, the extent to which it has any productive consequence. He also uses Hawthorne and Virginia Woolf as examples. Writing of the role of the historian raises difficulties for writers creating biographies from such an early period as that of Chaucer; Ellis points to Derek Pearsall's "excellent Life of Geoffrey Chaucer" (p. 121).Ellis neither can nor should ignore Lawrence and what better chapter to include him in than "Body Matters" in its concentration on illness. Here Ellis draws on Lawrence's concern with the harm of his health on his work (p. 78). He also considers Flaubert, Sartre, and Woolf. Briefly he mentions Stendhal's imagination of his "future audience" after his death (p. 109), sensibly rejects the long ago depleted and so, parenthetically, apparently permanent speculation on what Keats's might have become had he lived a full life "in a time of drugs for treatment of tuberculosis" (p. 123) and the equally mined issue of what prompted Hemingway's suicide (pp. 132-33). Certainly he is aware of the danger that such a use of material may pander to the pleasure of mere name-hunters (what if there were no index!). At the same time, if the effect of his range of examples invites additions of our own, while keeping before us that his study is about biography as form, it is successful.In "Primal Scenes," the fourth chapter of his book, Ellis gives what he feels is necessary space to Freud, the creator of the term. He points to Wordsworth's "spots of time" as only one indication of the difficulty--if not impossibility--of capturing biographically those moments in childhood by which the individual written about might be defined (p. 57). (Such an impossibility should not be surprising to those of us readers who recognize the nearly impossible task for ourselves in our own lives.) Surely both the biographer and autobiographer share this ignorance and frustration. In a very interesting move, Ellis points to Compton Mackenzie's discussion of a critical event in his six-year old life surrounding the interruption of an Easter evening with his parents and siblings, interrupted by the arrival of friends. Ellis writes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 478-480 [Access article in PDF] The German Aesthetic Tradition,by Kai Hammermeister; xv & 259 pp. Cambridge: Cambridge University Press, 2002; $60.00 cloth; $22.00 paper. In some ways, aesthetic theory has become a thing of the past. With the exception of a kind of fascination with works such as T. W. Adorno's Aesthetic Theory, as a project, as a tradition, aesthetics has surrendered its once (...) monolithic and grandiose position as the philosophical contemplation of art and the notion of artistic beauty to more diminutive fields such as literary theory, poetics and cultural studies. In some ways, this is due to the very function of aesthetics: the philosophical investigation not simply of what is beautiful, but the formulation of prescriptive ideas about works of art and the judgement them according to these prescriptive ideas. This, in turn, has been looked upon with a certain degree of scorn with the rise of a more pluralistic art world and the bold denial that art needs the guidance of philosophy let alone have any prescriptive function or be able to be classified as "good" or "bad."But Kai Hammermeister's The German Aesthetic Tradition takes a very different view. A bold and difficult project, Hammermeister traces the complex and oftentimes abstruse contours of German aesthetic philosophy from its inception with Baumgarten in the eighteenth century through Adorno in the twentieth. In the process, he not only provides us with an excellent historical-philosophical account of the development of German aesthetic philosophy, he also implicitly argues for the relevance of aesthetics as a way not only of comprehending art, but of understanding the cohesive links between art, society, culture and philosophy.The German aesthetic tradition, as Hammermeister refers to it, was a prolonged intellectual argumentation with classical conceptions of art and beauty inherited from classical Greek thought during the eighteenth century. Classical aesthetics was dominated by two opposing conceptions of art and its function. For Plato, art mirrored the outside world (mimesis) and the judgement of good works of art was based on how well this mirroring of the objective world was carried out. Aristotle's idea was that art served a purgatory function (katharsis), cleansing the emotions of the individual through the identification of the observer with the work of art. All of the thinkers in the German tradition wrestle with this dual conception of art in some form privileging one over the other or, more often than not, combining them and extending their explanatory reach. But as in any tradition, they also struggle with the ideas and philosophies of previous thinkers within the tradition itself making Hammermeister's task more complex, one that he handles with adroitness and precision.The book's overarching argument and structure is triadic. Hammermeister sees the eighteenth century through German Idealism and Romanticism as [End Page 478] articulating a set of different paradigms for interpreting art. These are subsequently attacked in post-Hegelian philosophy and are then revived in different ways in the twentieth century as a reaction to Nietzsche's aestheticization of philosophy. Two paradigms emerge as central for the subsequent unfolding of the tradition. First, there is Immanuel Kant's conception of art as wholly separate from epistemology and from morality. For Kant, the work of art is centered in the experience of the subject and, in terms of form, exists outside its social context. This Hammermeister calls the "first strong paradigm of aesthetics" (p. 40). Next, there is the position of Friedrich Schiller who sees a connection between the work of art with culture, thought and morality. "[T]he culture of beauty demonstrates the freedom of man to turn himself into whatever being he envisions while remaining under the law of morality" (p. 57). For Schiller, there exists a kind of spillover effect of art into other domains of human thought and action—specifically in morality and politics—and this represents a crucial deviation from Kant's paradigm and another tendency within the tradition of German aesthetics, i.e., the aestheticization of other domains of human existence.Schelling and Hegel represent two other... (shrink)

This study throws new light on the composition of Boyle's Free Enquiry into the Vulgarly Receiv'd Notion of Nature ; it also draws more general conclusions about Boyle's methods as an author and his links with his context. Its basis is a careful study of the extant manuscript drafts for the work, and their relationship with the published editions. Section 2 describes Boyle's characteristic method of composition from the late 1650s onwards, involving the dictation of discrete sections of text to (...) amanuenses; it also assesses the effect this had on the structure and presentation of Boyle's writings. Section 3 considers the published text section by section and indicates which parts were written when; it also surveys unpublished draft material relating to the work. Section 4 places the work in context, considering the intellectual threats that Boyle sought to confront in it, both when he initially composed it in the 1660s and when he rewrote it c. 1680. It thus anchors him more precisely than hitherto in the intellectual debates of his day. (shrink)

Keith Thomas: Gerald Edward Aylmer, 1926-2000 Adrian Hollis: William Spencer Barrett, 1914-2001 Bruce Williams: Charles Frederick Carter, 1919-2002 Malcolm Mackintosh: John Erickson, 1929-2002 J. H .R. Davis: Raymond William Firth, 1901-2002 F. M. L. Thompson: Hrothgar John Habakkuk, 1915-2002 A. W. Price: Richard Mervyn Hare, 1919-2002 Hugh Lloyd-Jones: Geoffrey Stephen Kirk, 1921-2003 Michael Lapidge and Peter Matthews: Vivien Anne Law, 1954-2002 Ann Moss: John Lough, 1913-2000 Terence Cave: Ian Dalrymple McFarlane, 1915-2002 Ludwig Paul: David Neil MacKenzie, 1926-2001 Peter Birks: (...) John Kieran Barry Moylan Nicholas, 1919-2002 Jonathan Shepard: Dimitri Dimitrievich Obolensky, 1918-2001 David Cannadine: John Harold Plumb, 1911-2001 Daniel Waley: Nicolai Rubinstein, 1911-2002 Ian Wood: John Michael Wallace-Hadrill, 1916-1985 R. G. M. Nisbet: William Smith Watt, 1913-2002 G. W. Bernard: Richard Bruce Wernham, 1906-1999. (shrink)

_Education, Ethics and Experience_ is a collection of original philosophical essays celebrating the work of one of the most influential philosophers of education of the last 40 years. Richard Pring’s substantial body of work has addressed topics ranging from curriculum integration to the comprehensive ideal, vocational education to faith schools, professional development to the privatisation of education, moral seriousness to the nature of educational research. The twelve essays collected here explore and build on Pring’s treatment of topics that are central (...) to the field of philosophy of education and high on the agenda of education policy-makers. The essays are by no means uncritical: some authors disagree sharply with Pring; others see his arguments as useful but incomplete, in need of addition or amendment. But all acknowledge their intellectual debt to him and recognise him as a giant on whose shoulders they stand. This book will be a welcome and lively read for educational academics, researchers and students of Educational Studies and Philosophy. (shrink)

Some argue that it is ethically justifiable to unilaterally withdraw life‐sustaining treatment during crisis standards of care without the patient's consent in order to reallocate it to another patient with a better chance of survival. This justification has been supported by two lines of argument: the equivalence thesis and the rule of the double effect. We argue that there are theoretical issues with the first and practical ones with the second, as supported by an experiment aimed at exploring whether the (...) Knobe effect, which affects the folk concept of intention, applies to situations of unilateral withdrawal. Fifty‐two critical care physicians from one university were asked to ascribe intention in two hypothetical scenarios A and B in which outcomes differ—the patient from whom life‐sustaining treatment is withdrawn dies in scenario A but survives in scenario B—but the intention, to save the other patient regardless of the outcome of the other, is the same. The survey was administered via a web‐based survey and all answers were anonymous. A paired proportion test was used to compare responses to both questions. All 52 surveyed individuals responded in scenario A and 30 (57.7%) ascribed intention when outcomes were unfavorable, whereas 50 responded in scenario B and 8 (16%) ascribed intention when outcomes were favorable, a difference that was statistically significant (p < 0.001). There are theoretical and practical issues with the arguments proposed to justify the unilateral withdrawal of life‐sustaining treatment based on the equivalence thesis and the rule of double effect. (shrink)

Conflicts of interest represent one of the defining problems of our time, and yet a clear definition of what constitutes a conflict of interest remains elusive. To move us closer to resolving this problem, this article first reviews and critiques attempts to define conflicts of interest, and, second, uses these critiques to ground a more conceptually consistent and practically useful definition. This definition builds on, but also breaks away from Michael Davis’s definition of conflicts of interest. Specifically, it articulates (...) and defends defining conflicts of interest in terms of their threat to good judgment but does so in the broadest terms. Defining it in this way expands the domain of conflicts of interest, but also avoids unnecessary conceptual distractions and practical difficulties. (shrink)

There have been many claims that quantum mechanics plays a key role in the origin and/or operation of biological organisms, beyond merely providing the basis for the shapes and sizes of biological molecules and their chemical affinities. These range from Schr¨odinger’s suggestion that quantum fluctuations produce mutations, to Hameroff and Penrose’s conjecture that quantum coherence in microtubules is linked to consciousness. I review some of these claims in this paper, and discuss the serious problem of decoherence. I advance some further (...) conjectures about quantum information processing in bio-systems. Some possible experiments are suggested. © 2004 Elsevier Ireland Ltd. All rights reserved. (shrink)

Institute of Theoretical Astronomy, University of Cambridge, Cambridge, UK 3fS. received 28th August 1970, in final revised form 1st July 1971..

In this sweeping survey, acclaimed science writers Paul Davies and John Gribbin provide a complete overview of advances in the study of physics that have revolutionized modern science. From the weird world of quarks and the theory of relativity to the latest ideas about the birth of the cosmos, the authors find evidence for a massive paradigm shift. Developments in the studies of black holes, cosmic strings, solitons, and chaos theory challenge commonsense concepts of space, time, and matter, and demand (...) a radically altered and more fully unified view of the universe. (shrink)

An inquiry into the nature of the universe draws out the implications of the quantum theory and argues that our universe is only one among many possible universes and that other universes may exist.

Paperback reissue of a book first published in 1991. The authors demonstrate how the materialistic and mechanistic world-view that has dominated western culture and science during the last few centuries is being challenged by the findings of modern physics, ranging from relativity to quantum physics. Includes a bibliography and an index. British-born, Davies is a well-known physicist and has written many other books including 'The Mind of God', winner of the 1992 Eureka Science Book Prize. He is currently professor of (...) mathematical physics at the University of Adelaide. Gribbin trained as an astrophysicist and is now a full-time science writer in Britain. (shrink)

Rather than a “logical assertion,” Whitehead described a proposition as a “lure for feeling” for a collectivity to come. The unique contributions in Propositions in the Making articulate the newest reaches of Whiteheadian propositions for a postmodern world.

Machine learning algorithms pervade contemporary society. They are integral to social institutions, inform processes of governance, and animate the mundane technologies of daily life. Consistently, the outcomes of machine learning reflect, reproduce, and amplify structural inequalities. The field of fair machine learning has emerged in response, developing mathematical techniques that increase fairness based on anti-classification, classification parity, and calibration standards. In practice, these computational correctives invariably fall short, operating from an algorithmic idealism that does not, and cannot, address systemic, Intersectional (...) stratifications. Taking present fair machine learning methods as our point of departure, we suggest instead the notion and practice of algorithmic reparation. Rooted in theories of Intersectionality, reparative algorithms name, unmask, and undo allocative and representational harms as they materialize in sociotechnical form. We propose algorithmic reparation as a foundation for building, evaluating, adjusting, and when necessary, omitting and eradicating machine learning systems. (shrink)

Recent advances in string theory and inflationary cosmology have led to a surge of interest in the possible existence of an ensemble of cosmic regions, or “universes”, among the members of which key physical parameters, such as the masses of elementary particles and the coupling constants, might assume different values. The observed values in our cosmic region are then attributed to an observer selection effect (the so-called anthropic principle). The assemblage of universes has been dubbed “the multiverse”. In this paper (...) we review the multiverse concept and the criticisms that have been advanced against it on both scientific and philosophical grounds. (shrink)

Using a model quantum clock, I evaluate an expression for the time of a nonrelativistic quantum particle to transit a piecewise geodesic path in a background gravitational field with small spacetime curvature (gravity gradient), in the case that the apparatus is in free fall. This calculation complements and extends an earlier one (Davies 2004) in which the apparatus is fixed to the surface of the Earth. The result confirms that, for particle velocities not too low, the quantum and classical transit (...) times coincide, in conformity with the principle of equivalence. I also calculate the quantum corrections to the transit time when the de Broglie wavelengths are long enough to probe the spacetime curvature. The results are compared with the calculation of Chiao and Speliotopoulos (2003), who propose an experiment to measure the foregoing effects. (shrink)

of a logarithmic time dependence of the fine structure constant is apparently within the limits discussed if there is a corresponding logarithmic time dependence of the strong coupling constant also. Moreover the recent discover> of naturally occurring ' Pu places the Gamow hypothesis of e' r much nearer the allov'able limits than had previously been supposed.

The relationship between the choruses of Seneca's tragedies and the action of the plays in which they occur is one of the least understood and most controversial aspects of the Roman dramatist's work. It is often asserted that Seneca's choral odes are mere act-dividers, that their relationship with the play's action is loose and unconvincing. I would not care to assert that the handling of the chorus is flawless in all instances in Seneca's tragedies , but in his best works (...) it is, I believe, masterly. In this paper I propose to illustrate the close and complex interconnection between ode and action in Senecan tragedy through an analysis of the choruses of Thyestes. (shrink)

The relationship between the choruses of Seneca's tragedies and the action of the plays in which they occur is one of the least understood and most controversial aspects of the Roman dramatist's work. It is often asserted that Seneca's choral odes are mere act-dividers, that their relationship with the play's action is loose and unconvincing. I would not care to assert that the handling of the chorus is flawless in all instances in Seneca's tragedies, but in his best works it (...) is, I believe, masterly. In this paper I propose to illustrate the close and complex interconnection between ode and action in Senecan tragedy through an analysis of the choruses of Thyestes. (shrink)