Stewart Shapiro and Alan Weir have argued that a crucial part of the demonstration of Frege's Theorem (specifically, that Hume's Principle implies that there are infinitely many objects) fails if the Neo-logicist cannot assume the existence of the empty property, i.e., is restricted to so-called Aristotelian Logic. Nevertheless, even in the context of Aristotelian Logic, Hume's Principle implies much of the content of Peano Arithmetic. In addition, their results do not constitute an objection to Neo-logicism so much as a (...) clarification regarding the view of logic that the Neo-logicist must take. (shrink)

ABSTRACTLove is the basis for a moral psychology of forgiveness. I argue for an account of love based on Roy Bhaskar's conception of its five circles, and of the ethical nature of human beings as concrete universals/singulars. Linking this to work of ‘The Forgiveness Project’, I argue that forgiveness can be understood metaphysically in terms of its relation to love of self, of the other, of the relation of self and other, of self, other and the wider community, and of (...) self and other in their ontological depth as unique individuals. Forgiveness involves both a ‘giving to’ and a ‘giving up’, and this can lead to a profound sense of identity between a victim and a perpetrator. Forgiveness is different for each person; it may draw upon a public/legal setting as a proxy for universal judgement; and it confronts social-structural and political elements which may block its development. (shrink)

Through dialectical critical realism, Roy Bhaskar has made an important contribution to two different theoretical traditions. One is the philosophy of critical realism, where he aims for a more supple and reflexive approach. The other is dialectical theory, which he seeks to undergird and recast by locating on a realist terrain. Here an important question is how recasting affects existing dialectical thought. Bhaskar's own writings focus in this regard on dialectical critical realism's relation to Hegel. This paper addresses it by (...) comparing and contrasting dialectical critical realism with Theodor Adorno's negative dialectics, the approach which probably comes closest to dialectical critical realism. The first two main sections are accordingly directed to developing an account of Bhaskar's dialectical critical realism and comparing it to Adorno's negative dialectics. My argument is that what Bhaskar and Adorno have in common is a commitment to a realist ontology, but that Adorno's account is limited by a competing tendency towards irrealism. This gives his negative dialectics an unstable foundation, and this is brought out by the comparison with dialectical critical realism. The third and fourth sections bring out the implications of this tension for Adorno's account of modern freedom in his Negative Dialectics. Three competing views are identified, and it is argued that these coher on the basis of a realist reading of his analysis. An irrealist reading reduces them to incoherence. (shrink)

In this response to John Roberts’s essay in JCR 12 2013, I argue that Roberts presents Hegel in a one-sided way that stresses the negative, critical side of his thinking and misses its rationally resolutive side. At the same time, he mislocates Roy Bhaskar’s dialectical work and therefore misunderstands it. In terms of ethics, the key to understanding Bhaskar is the constellational relation he devises between ethics and geo-history, leading to a view of modern ethics as constituting a ‘broken dialectic’.

Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...) creative? How do we define creativity in the first place? Is it a virtue? What is the difference between creativity in science and art? Can creativity be taught? The new essays that comprise The Philosophy of Creativity take up these and other key questions and, in doing so, illustrate the value of interdisciplinary exchange. Written by leading philosophers and psychologists involved in studying creativity, the essays integrate philosophical insights with empirical research. CONTENTS I. Introduction Introducing The Philosophy of Creativity Elliot Samuel Paul and Scott Barry Kaufman II. The Concept of Creativity 1. An Experiential Account of Creativity Bence Nanay III. Aesthetics & Philosophy of Art 2. Creativity and Insight Gregory Currie 3. The Creative Audience: Some Ways in which Readers, Viewers and/or Listeners Use their Imaginations to Engage Fictional Artworks Noël Carroll 4. The Products of Musical Creativity Christopher Peacocke IV. Ethics & Value Theory 5. Performing Oneself Owen Flanagan 6. Creativity as a Virtue of Character Matthew Kieran V. Philosophy of Mind & Cognitive Science 7. Creativity and Not So Dumb Luck Simon Blackburn 8. The Role of Imagination in Creativity Dustin Stokes 9. Creativity, Consciousness, and Free Will: Evidence from Psychology Experiments Roy F. Baumeister, Brandon J. Schmeichel, and C. Nathan DeWall 10. The Origins of Creativity Elizabeth Picciuto and Peter Carruthers 11. Creativity and Artificial Intelligence: a Contradiction in Terms? Margaret Boden VI. Philosophy of Science 12. Hierarchies of Creative Domains: Disciplinary Constraints on Blind-Variation and Selective-Retention Dean Keith Simonton VII. Philosophy of Education (& Education of Philosophy) 13. Educating for Creativity Berys Gaut 14. Philosophical Heuristics Alan Hájek. (shrink)

Despite the many well-documented similarities -- genetic, cognitive, behavioral, social -- between our human selves and our evolutionary forebears, a significant gulf remains between us and them. Why is that? How did it come about? And how did we come to be the way we are? In this book fourteen distinguished scholars -- including humanist, atheist, and theist voices -- address such questions as they explore how and when human personhood emerged. Representing various disciplines, the contributors all offer significant insights (...) into new scientific research about the origins of human nature -- research that challenges some traditional views. CONTRIBUTORS Francisco J. Ayala Justin L. Barrett Roy F. Baumeister Warren S. Brown Richard W. Byrne Matthew J. Jarvinen Malcolm Jeeves Timothy O'Connor Lynn K. Paul Colin Renfrew Ian Tattersall Anthony C. Thiselton Alan J. Torrance Adam Zeman. (shrink)

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

Humanoid robots used for sexual purposes are beginning to look increasingly lifelike. It is possible for a user to have a bespoke sexbot created which matches their exact requirements in skin pigmentation, hair and eye colour, body shape, and genital design. This means that it is possible—and increasingly easy—for a sexbot to be created which bears a very high degree of resemblance to a particular person. There is a small but steadily increasing literature exploring some of the ethical issues surrounding (...) sexbots, however sexbots made to look like particular people is something which, as yet, has not been philosophically addressed in the literature. In this essay I argue that creating a lifelike sexbot to represent and resemble someone is an act of sexual objectification which morally requires consent, and that doing so without the person’s consent is intrinsically wrong. I consider two sexbot creators: Roy and Fred. Roy creates a sexbot of Katie with her consent, and Fred creates a sexbot of Jane without her consent. I draw on the work of Alan Goldman, Rae Langton, and Martha Nussbaum in particular to demonstrate that creating a sexbot of a particular person requires consent if it is to be intrinsically permissible. (shrink)

Though less well known than his other work, Turings 1938 Princeton Thesis, this title which includes his notion of an oracle machine, has had a lasting influence on computer science and mathematics. It presents a facsimile of the original typescript of the thesis along with essays by Appel and Feferman that explain its still-unfolding significance.

Explores language and mysticism, Buddhism and Zen, Christianity, comparative religion, psychedelics, and psychology and psychotherapy. Gold Winner for Philosophy, 2017 Foreword INDIES Book of the Year Awards To commemorate the 2015 centenary of the birth of Alan Watts (1915–1973), Peter J. Columbus and Donadrian L. Rice have assembled a much-needed collection of Watts’s scholarly essays and lectures. Compiled from professional journals, monographs, scholarly books, conferences, and symposia proceedings, the volume sheds valuable light on the developmental arc of Watts’s thinking (...) about language and mysticism, Buddhism and Zen, Christianity, comparative religion, psychedelics, and psychology and psychotherapy. This definitive collection challenges Watts’s reputation as a “popularizer” or “philosophical entertainer,” revealing his concerns to be much more expansive and transdisciplinary than is suggested by the parochial “Zen Buddhist” label commonly affixed to his writings. The editors’ authoritative introduction elucidates contemporary perspectives on Watts’s life and work, and supports a bold rethinking of his contributions to psychology, philosophy, and religion. Peter J. Columbus is Administrator of the Shantigar Foundation in Rowe, Massachusetts. Donadrian L. Rice is Professor of Psychology at the University of West Georgia. Together they are the coeditors of Alan Watts—Here and Now: Contributions to Psychology, Philosophy, and Religion, also published by SUNY Press. (shrink)

The failure of philosophy -- A new political philosophy -- Radical democracy -- Politics of freedom -- The future of democracy -- Decentralization of power -- A Humanist approach to elections -- A new approach to political and economic problems -- Human nature and humanist practice -- Humanist politics -- Integral humanism -- The way out -- New humanism -- The principles of radical democracy.

An explanation is given of why it is in the nature of inquiry into whether or not p that its aim is fully achieved only if one comes to know that p or to know that not-p and, further, comes to know how one knows, either way. In the absence of the latter one is in no position to take the inquiry to be successfully completed or to vouch for the truth of the matter in hand. An upshot is that (...) although knowledge matters because truth matters this should not be understood to mean that knowledge matters because true belief matters. (shrink)

This volume contains invited and contributed papers delivered at a symposium on the occasion of Professor Glauber's 60th birthday. The papers, many of which are authored by world leaders in their fields, contain recent research work in quantum optics, statistical mechanics and high energy physics related to the pioneering work of Professor Roy Glauber; most contain original research material that is previously unpublished. The concepts of coherence, cooperativity and fluctuations in systems with many degrees of freedom are a common base (...) for all of Professor Glauber's research initiatives and, in fact, for much of contemporary physics. His role in shaping these cconcepts is reflected and honoured in the papers contained in this book. (shrink)

A major voice in late twentieth-century philosophy, Alan Donagan is distinguished for his theories on the history of philosophy and the nature of morality. The Philosophical Papers of Alan Donagan, volumes 1 and 2, collect 28 of Donagan's most important and best-known essays on historical understanding and ethics from 1957 to 1991. Volume 2 addresses issues in the philosophy of action and moral theory. With papers on Kant, von Wright, Sellars, and Chisholm, this volume also covers a range (...) of questions in applied ethics--from the morality of Truman's decision to drop atomic bombs on Hiroshima and Nagasaki to ethical questions in medicine and law. (shrink)

Traditional Western conceptions of immortality characteristically presume that we come into existence at a particular time , live out our earthly span and then die. According to some, our death may then be followed by a deathless post-mortem existence. In other words, it is assumed that we are born only once and die only once; and that – at least on some accounts – we are future-sempiternal creatures. The Western secular tradition affirms at least ; the Western religious tradition – (...) Christianity, Judaism, Islam – generally affirms both and . The Indian tradition, however, typically denies both and . That is, it maintains both that we all have pre-existed beginninglessly, and that we have lived many times before and must live many times again in this world. The Indian picture, then, is that we have died and been reborn innumerable times previous to this life and we will be reborn many times in the future. This is sometimes called the Indian belief in reincarnation. The difficulty with this usage is that the term ‘reincarnation’ suggests a belief in an immortal soul that transmigrates or reincarnates. However Buddhism, while affirming rebirth, specifically denies the existence of an eternal soul. Thus the term ‘rebirth’ is preferable for referring to the generally espoused Indian doctrine. (shrink)

The correspondence of a one-of-a-kind spiritual maverick who continues to influence thinkers of all stripes.

book 1. God.--book 2. Meditation.--book 3. Nothingness.--book 4. Death.--book 5. The nature of man.--book 6. Time.--book 7. Philosophical fantasies.--book 8. Ego.--book 9. The cosmic drama.

Would personal immortality have any value for one so endowed? An affirmative answer would seem so obvious to some that they might be tempted to go so far as to claim that immortality is a condition of life's having any value at all. The claim that immortality is a necessary condition for the meaningfulness of life seems untenable. What, however, of the claim that immortality is a sufficient condition for the meaningfulness of life? Though some might hold this to be (...) the characteristic religious view, this is certainly disputable. Thus McTaggart reminds us, for instance, that ‘Buddhism... holds immortality to be the natural state of man, from which only the most perfect can escape.’ I want to argue that we can imagine variants of personal immortality which would not be valuable and hence immortality in itself cannot be a sufficient condition for value. What is required for the meaningfulness of life is that life exhibit certain valuable qualities. But then the endless exhibition of these qualities is not only unnecessary for the meaningfulness of life, but the endlessness of a life can even devalue those qualities that would make valuable a single, bounded life. (shrink)

Linked by Donagan's commitment to the central importance of history for philosophy and his interest in problems of historical understanding, these essays represent the remarkable scope of Donagan's thought.

With papers on Kant, von Wright, Sellars, and Chisholm, this volume also covers a range of questions in applied ethics—from the morality of Truman's decision to drop atomic bombs on Hiroshima and Nagasaki to ethical questions in medicine ...

[Alan Weir] This paper addresses the problem of how to account for objective content-for the distinction between how we actually apply terms and the conditions in which we ought to apply them-from within a naturalistic framework. Though behaviourist or dispositionalist approaches are generally held to be unsuccessful in naturalising objective content or 'normativity', I attempt to restore the credibility of such approaches by sketching a behaviouristic programme for explicating objective content. /// [Alexander Miller] Paul Boghossian (1989, 1990) has argued, (...) on grounds concerning the holistic nature of belief fixation, that there are principled reasons for thinking that 'optimal conditions' versions of reductive dispositionalism about content cannot hope to satisfy a condition of extensional accuracy. I discern three separable strands of argument in Boghossian's work-the circularity objection, the open-endedness objection, and the certification objection-and argue that each of these objections fails. My conclusion is that for all that Boghossian has shown, 'optimal conditions' versions of reductive dispositionalism have to be assessed on a case-by-case basis. (shrink)

In this wide-ranging interview Alan Norrie discusses how he became involved with Critical Realism, his work on Dialectical Critical Realism, and responses to it amongst the Critical Realist communi...