This book is the product of a major British Academy Symposium held in 2007 to mark the centenary of the birth of H.L.A. Hart, the most important legal philosopher and one of the most important political philosophers of the twentieth century. -/- The book brings together contributions from seventeen of the world's foremost legal and political philosophers who explore the many subjects in which Hart produced influential work. Each essay engages in an original analysis of philosophical problems that were tackled (...) by Hart, some essays including extended critical discussions of his major works: The Concept of Law, Punishment and Responsibility, Causation in the Law and Law, Liberty and Morality. All the main topics of Hart's philosophical writings are featured: general jurisprudence and legal positivism; criminal responsibility and punishment; theories of rights; toleration and liberty; theories of justice; and causation in the law. (shrink)

Two important assumptions of behavioral momentum theory are contradicted by existing data. Resistance to change is not due simply to the Pavlovian contingency between a discriminative stimulus and the rate of reinforcement in its presence, because variations in the response-reinforcer contingency, independent of the stimulus-reinforcer contingency, produce differential resistance to change. Resistance to change is also not clearly related to measures of preference, in that several experiments show the two measures to dissociate.

Although hailing from cognate analytical schools, the contributors to Hedwig te Molder and Jonathan Potter’s edited volume Conversation and Cognition hold a remarkable diversity of views on the nature of “mental states” and their import for the purposes of analyzing naturally occurring interaction. I offer a critical analysis of some of the contributors’ discussions of cognition in social interaction in an effort to clarify some obstinate issues with respect to the meanings of words in our cognitive vocabulary (e.g. “thought” and (...) “realization”) and their identification in analyses of conversation. (shrink)

In many areas of the social and behavioral sciences, the nature of the experiments and theories that best capture the underlying constructs are themselves areas of active inquiry. Integrative experiment design risks being prematurely exploitative, hindering exploration of experimental paradigms and of diverse theoretical accounts for target phenomena.

We call many things sacred, from cows, churches and paintings to flags and burial grounds. Is it still meaningful to talk of things being sacred, or is the idea merely a relic of a bygone religious age? Does everything - and every life - have its price? Is Nothing Sacred? is a stimulating and wide-ranging debate about some of the major moral dilemmas facing us today, such as the value of human life, art, the environment, and personal freedom. Packed with (...) clearly presented controversial issues, we are asked to decide whether we should revere life when someone chooses to die, preserve the giant California redwoods, cherish Vermeer's originals for their own sake, or curtail personal freedom for the greater good. Ronald Dworkin argues that the concept of the scared is essential to any human ethics, and Simon Blackburn explains why he thinks 'a humanist should not feel guilty at the emotions of awe and reverence that can be inspired by great religious works of art. Throughout, the idea of the sacred in a secular age is hotly debated amongst the authors and put to the test: should it be abandoned altogether, or does it still have something to teach us? Is Nothing Sacred? brings together outstanding philosophers and thinkers, including Suzanne Uniacke, Michael Clark, Alan Holland, Simon Blackburn, Richard Dawkins, Richard Norman, Alan Howarth, Nigel Warburton, Matthew Kieran and John Harris. (shrink)

ISBN 978-1-4384-9027-4 Argues that Nietzsche’s idea of the Übermensch was a central concern of filmmakers in the 1920s and 1930s. -/- Nietzsche in Hollywood offers a compelling and startling history of Hollywood film in which the German philosopher Friedrich Nietzsche and his idea of the Übermensch looms large. Though Nietzsche’s philosophy was attacked as egoistic and a sociopathic version of Darwinism in films from the 1910s, it undergoes a series of cinematic and philosophical transformations in the 1920s and 1930s under (...) the eye and pen of some of the most significant names in early Hollywood, including Erich von Stroheim, Josef von Sternberg, Ben Hecht, Howard Hawks, and Ernst Lubitsch. In addition to establishing historical connections between Nietzsche’s philosophy and these filmmakers, the book provides philosophical readings of many Hollywood films through the lens of the Nietzschean ideas of “perspectivism” and the critique of morality. Offering a new history of classic Hollywood films as well as a new approach to film philosophy, Nietzsche in Hollywood reveals a reading of the philosopher in American culture that has largely been ignored. (shrink)

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

Imagine I hold up a Granny Smith apple for all to see. You would thereby gain justified beliefs that it was green, that it was apple, and that it is a Granny Smith apple. Under classical foundationalism, such simple visual beliefs are mediately justified on the basis of reasons concerning your experience. Under dogmatism, some or all of these beliefs are justified immediately by your experience and not by reasons you possess. This paper argues for what I call the looks (...) view of the justification of simple visual beliefs. According to the looks view, such beliefs are mediately justified on the basis of reasons concerning how the relevant things look. Unlike under classical foundationalism, under the looks view as I develop it, these reasons are public. They are public with respect to both their content and possession: with respect to content, they are not about ourselves and our experiences, and with respect to their possession, many people can have the very same looks-related reasons. (shrink)

The first edition of The Scientific Background to Modern Philosophy took the dialogue of science and philosophy from Aristotle through to Newton. This second edition adds eight chapters, taking the dialogue through the Enlightenment and up to Darwin. This anthology is an attempt to help bridge the gap between the history of science and the history of philosophy.

Abstract I provide an account of the nature of seemings that explains why they are necessary for justification. The account grows out of a picture of cognition that explains what is required for epistemic agency. According to this account, epistemic agency requires (1) possessing the epistemic aims of forming true beliefs and avoiding errors, and (2) having some means of forming beliefs in order to satisfy those aims. I then argue that seeming are motives for belief characterized by their role (...) of providing us with doxastic instructions guided by our epistemic aims. Understanding the nature of seemings allows us to underwrite recent epistemological work by Michael Huemer, and shows why he was right to claim that seemings are the source of all justification. I then look at some objections both to my arguments regarding the connection between seemings and justification, and to Huemer’s related “Principle of Phenomenal Conservatism”. Content Type Journal Article Pages 1-21 DOI 10.1007/s11098-011-9830-2 Authors Matthew Skene, Syracuse University, 8330 E. Quincy Ave., I-307, Denver, CO 80237, USA Journal Philosophical Studies Online ISSN 1573-0883 Print ISSN 0031-8116. (shrink)

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

This chapter contains sections titled: Categorical Prescriptiveness Uniformity as a Moral Matter Uniformity Contrasted with Neutrality The Overridingness of Moral Principles.

Assertion is governed by an epistemic norm requiring knowledge. This idea has been hotly debated in recent years, garnering attention in epistemology, philosophy of language, and linguistics. This chapter presents and extends the main arguments in favor of the knowledge norm, from faulty conjunctions, several conversational patterns, judgments of permission, excuse, and blame, and from showing how. (Paired with a chapter by Peter J. Graham and Nikolaj J. L. L. Pedersen, "Knowledge is Not Our Norm of Assertion.").

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

What is it to know someone? Epistemologists rarely take up this question, though recent developments make such inquiry possible and desirable. This paper advances an account of how such interpersonal knowledge goes beyond mere propositional and qualitative knowledge about someone, giving a central place to second-personal treatment. It examines what such knowledge requires, and what makes it distinctive within epistemology as well as socially. It assesses its theoretic value for several issues in moral psychology, epistemic injustice, and philosophy of mind. (...) And it offers an account of the complex content in play if interpersonal knowledge is to be understood in terms of its mental states and their functions. (shrink)

We regularly appeal to claims of the form it seems that p in defense of a claim p. When we do so, we typically take it seems that p to be a reason for thinking that p but also a reason that “gets at” a relevant body of facts and its support for p. Other things being equal, we should want to vindicate our ordinary beliefs on this matter. We should want to vindicate the claim that facts about things seeming (...) certain ways can be reasons to think that things are that way while at the same time being somehow derivative reasons, that is, reasons only because they “get at” support from a certain body of facts. However, on the dominant view of how things seem—subjectivism—it is hard to see how to secure this result. Subjectivism takes how things seem to be a matter of how things do or would seem to some relevant subject. What we need is a defensible, nonsubjectivist account of how things seem. I propose and defend an account according to which, roughly, it seems that p iff the body of facts in the relevant perspective supports that p. (shrink)

This book examines a main theme in religious epistemology, namely, the possibility of knowledge of God. Most often philosophers consider the rationality or justification of propositional belief about God, particularly beliefs about the existence and nature of God; and they will assess the conditions under which, if there is a God, such propositional beliefs would be knowledge, particularly in light of counter-evidence or the availability of religious disagreement. This book surveys such familiar areas, then turns toward newer and less-developed terrain: (...) interpersonal epistemology, namely what it is to know another person. It then explores the prospects for understanding what it might take to know God relationally, the contours of which are significant for many theistic traditions. (shrink)

Deleuze & Guattari, Politics and Education mobilizes Deleuzian-Guattarian philosophy as a revolutionary alternative to the lingering forms of transcendence, identity politics, and nihilism endemic to Western thought. Operationalizing Deleuze and Guattari's challenge to contemporary philosophy, this book presents their view as a revolutionary alternative to the lingering forms of transcendence, identity politics, and nihilism endemic to the current state of Western formal education. This book offers an experimental approach to theorizing, creating an entirely new way for educational theorists to approach (...) their work as the task of revolutionizing life itself. Examining new conceptual resources for grappling with and mapping a sustainable political alternative to the cliche's that saturate contemporary educational theory, this collection of essays works toward extracting a genuine image of education and learning that exists in sharp contrast to both the neo-liberal educational project and the critical pedagogical tradition. (shrink)

In Measuring the Immeasurable Mind: Where Contemporary Neuroscience Meets the Aristotelian Tradition, Matthew Owen argues that despite its nonphysical character, it is possible to empirically detect and measure consciousness. -/- Toward the end of the previous century, the neuroscience of consciousness set its roots and sprouted within a materialist milieu that reduced the mind to matter. Several decades later, dualism is being dusted off and reconsidered. Although some may see this revival as a threat to consciousness science aimed at measuring (...) the conscious mind, Owen argues that measuring consciousness, along with the medical benefits of such measurements, is not ruled out by consciousness being nonphysical. Owen proposes the Mind-Body Powers model of neural correlates of consciousness, which is informed by Aristotelian causation and a substance dualist view of human nature inspired by Thomas Aquinas, who often followed Aristotle. In addition to explaining why there are neural correlates of consciousness, the model provides a philosophical foundation for empirically discerning and quantifying consciousness. En route to presenting and applying the Mind-Body Powers model to neurobiology, Owen rebuts longstanding objections to dualism related to the mind-body problem. With scholarly precision and readable clarity, Owen applies an oft forgotten yet richly developed historical vantage point to contemporary cognitive neuroscience. (shrink)

Does a flourishing life involve pursuing passionate attachments? Can we choose what these passionate attachments will be? This book offers an original theory of how we can actively cultivate our passionate attachments. The author argues that not only do we have reason to view passionate attachments as susceptible to growth, change, and improvement, but we should view these entities as amenable to self-cultivation. He uses Pierre Hadot's and Michel Foucault's accounts of Hellenistic self-cultivation as vital conceptual tools to formulate a (...) theory of cultivating our passionate attachments. First, their accounts offer the conceptual resources for a philosophical theory of how we can cultivate our passionate attachments. Second, the exercises of self-cultivation they focus on allow us to outline a practical method though which we can cultivate our passionate character. Doing this brings out a significantly new dimension to the role of the passionate attachments in the flourishing life and offers theoretical and practical accounts of how we can cultivate them based on the Hellenistic conception of self-directed character change. Cultivating Our Passionate Attachments will be of interest to advanced students and scholars working in virtue ethics, moral philosophy, and ancient philosophy. (shrink)

The aim in this paper is to focus on one of the proposals about successful perception that has led its adherents to advance some kind of disjunctive account of experience. The proposal is that we should understand the conscious sensory experience involved in successful perception in relational terms. I first try to clarify what the commitments of the view are, and where disagreements with competing views may lie. I then suggest that there are considerations relating to the conscious character of (...) our perception of events that speak in its favour. (shrink)

This paper defends the view, put roughly, that to think that p is to guess that p is the answer to the question at hand, and that to think that p rationally is for one’s guess to that question to be in a certain sense non-arbitrary. Some theses that will be argued for along the way include: that thinking is question-sensitive and, correspondingly, that ‘thinks’ is context-sensitive; that it can be rational to think that p while having arbitrarily low credence (...) that p; that, nonetheless, rational thinking is closed under entailment; that thinking does not supervene on credence; and that in many cases what one thinks on certain matters is, in a very literal sense, a choice. Finally, since there are strong reasons to believe that thinking just is believing, there are strong reasons to think that all this goes for belief as well. (shrink)

In 2005, Charles Mills published “‘Ideal Theory’ as Ideology” in Hypatia: a withering critique of much of contemporary political philosophy and ethics. For Mills such work in philosophy failed to attend to the realities of social life and politics, and in remaining silent on actual issues of domination and oppression served an ideological role in supporting the interests of white bourgeois men. Around the time that Charles Mills launched his broadside against ideal theory, trans theorists had been fighting their own (...) battle against the abstraction of theory from the realities of trans lives and oppression. Vivian Namaste (2000) and Jay Prosser (1998) argued that contemporary gender theory failed to justice to the actuality of trans life, retreating instead to understanding trans life through literary archetypes and idealized radical figures. In this chapter I’ll compare Mills’ critique of ideal theory with the transfeminist critique of 1990s gender theory, arguing that they share much in common. Centrally, both critiques share an underlying commitment to theory needing to be grounded in the actuality of oppression and power relations. This common thread, I suggest, must continue to guide transfeminist thought and action: contra Marquis Bey (2022) transfeminist thought and praxis must continue to be about trans lives, about the oppression of trans women, and about ways of actually achieving liberation from our current dire position. (shrink)

A recent movement within political philosophy called luck egalitarianism has attempted to synthesize the right’s regard for responsibility with the left’s concern for equality. The original motivation for subscribing to luck egalitarianism stems from the belief that one’s success in life ought to reflect one’s own choices and not brute luck. Luck egalitarian theorists differ in the decision procedures that they propose, but they share in common the general approach that we ought to equalize individuals with respect to brute luck (...) so that differences in distribution are only a consequence of the responsible choices that individuals make. I intend to show that through the application of its own distributive procedures, the interpersonal luck egalitarian approach actually undermines its original motivation by making the lives of individuals subject to brute luck. I propose two alternative methods that the luck egalitarian could use to prevent the problems suffered by the interpersonal luck egalitarian standard. (shrink)

On Sense and Direct Reference: Readings in the Philosophy of Language focuses on the debate between neo-Fregeans and neo-Russellians in philosophy of language. With a foreword by Nathan Salmon, the volume collects more than 40 of the most important papers in philosophy of language in the last 40 years; including David Kaplan's "Demonstratives" and "Afterthoughts", and a paper written by Scott Soames especially for the volume. It is suitable for advanced undergraduate and graduate courses.

MacIntyre argues that management embodies emotivism, and thus is inherently amoral and manipulative. His claim that management is necessarily Weberian is, at best, outdated, and the notion that management aims to be neutral and value free is incorrect. However, new forms of management, and in particular the increased emphasis on leadership which emerged after MacIntyre’s critique was published, tend to support his central charge. Indeed, charismatic and transformational forms of leadership seem to embody emotivism to a greater degree than do (...) more Weberian, bureaucratic forms of management; hence, MacIntyre’s central contention about our emotivistic culture seems to be well founded. Having criticised the details but defended the essence of MacIntyre’s critique of management, this paper sketches a MacIntyrean approach to management and leadership by highlighting the affinities between MacIntyre’s political philosophy and Greenleaf’s concept of servant leadership. (shrink)

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

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

It has been argued that nonreductive physicalism’s problems with mental causation disappear if we abandon the intuitive but naïve production-based conception of causation in favor of one based on counterfactual dependence and difference-making. In recent years, this response has been thoroughly developed and defended by James Woodward, who contends that Kim’s causal exclusion argument, widely thought to be the most serious threat to nonreductive mental causation, cannot even be given a coherent formulation within Woodward’s preferred interventionist framework. But Woodward has, (...) even more recently, defended a pair of necessary conditions on mental causation and higher-order causation more generally, and it is here that the interventionist framework proves less friendly to nonreductive mental causation. Functionalism is arguably the most important species of nonreductive physicalism concerning specifically mental properties, but, as I argue, functional properties fail both of Woodward’s tests of causal relevance, one of them in two different ways. The problem, moreover, seems unique to functionalism, for other types of higher-order properties appear to pass Woodward’s tests. If functionalism faces defeat even in such friendly territory, its problems with mental causation are not an artifact of naïve metaphysics. They run deep. (shrink)

Brings together and interprets previously hard-to-find texts, new translations and passages detailing the interplay between philosophy and psychopathology.

The issues and problems of mandatory vaccination policy and roll out in First Nations communities are unique and do not concern the safety and effectiveness of vaccines. These issues are also independent of more specific arguments of mandatory vaccination of healthcare workers as a condition of employment. As important as these issues are, they do not consider the complex politics of ongoing settler colonialism and First Nations community relations. In this paper, we also set aside the very real problems of (...) disinformation, hesitancy, scientific and health illiteracy, and other concerns that drive vaccine hesitancy and refusal. These affect all communities, including First Nations communities. We, instead describe the dominant arguments in favour of mandatory vaccination and critique them in terms of the disputed legitimacy of Settler-Colonial decision-making as it impacts First Nations communities. We contend cultural responsiveness and safety—not state compulsion—must remain the first principles of any engagement—including vaccination—with First Nations Peoples, families, and communities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On David Bentley Hart's Account of TraditionMatthew LeveringIn Tradition and Apocalypse, David Hart argues that "the concept of 'tradition' in the theological sense, however lucid and cogent it might appear to the eyes of faith, is incorrigibly obscure and incoherent."1 This claim coheres with the New Testament scholar Ernst Käsemann's notion of apocalyptic, as set forth in Käsemann's well known rhetorical questions—to which he answers in the negative—"Has there (...) ever been a theological system which has not collapsed? Have we been promised that we should know ourselves to be in possession of a theologia perennis?"2 For Käsemann, Christian theological "continuity" (if such there is) consists in "the hope of the manifestation of the Son of Man on his way to enthronement"3—Easter hope. Hart follows his own version of this path.Hart contends that he does not intend to overthrow the truth of the Nicene Creed.4 But he bemoans the claims of various Christian communities—Catholic, [End Page 215] Orthodox, Protestant—to have faithfully communicated the Gospel: "All Christian communions of any size or duration have their distinctive traditionalisms, their myths of continuity amidst rupture and rupture amidst continuity, their claims of doctrinal pedigree and of allegiance to the authority of the Christian past."5 Hart rejects all such ecclesial claims of dogmatic continuity and fidelity. Theologically, he deems it impossible for anyone "to say with absolute finality what the one true tradition is."6 Historically, he thinks it impossible to discern any "rational unity within the course of Christian tradition that one could confidently claim has been sustained intact amid the flux of times and cultures."7There are certain rhetorical emphases that stand out as Hart describes his own constructive view of Christian "tradition." He states that tradition is "the constant creative recollection of a promise whose fulfillment and ultimate meaning are yet to be unveiled"—not in the sense that the Church awaits the fullness that is to come and that dogmatic propositions, while true, are always inadequate to divine realities, but in the stronger sense of appealing to "a future apocalyptic horizon where the tradition's ultimate meaning is to be found" and rejecting "any reduction of that final revelation to whatever formulations of belief happen to be available at any given stage of doctrinal development." Hart depicts Christian tradition as an active transmission of a gift that remains fundamentally hidden and unknown. He invokes the image of "the impartation of a gift that remains sealed, a giving always deferred toward a future not yet known." There is a giving, but this giving is "always deferred," its future is "not yet known," and the gift itself "remains sealed." Hart argues that the "gift must remain sealed until the very end, so that the glory will not dissipate into ordinary time, whose atmosphere is incapable of sustaining and nourishing it." Time—history—cannot sustain or nourish the divine gift, and so it must be "sealed" until the end of time; and yet it can be known "in and as" ever-changing, historical tradition.8Tradition accomplishes this handing on of the sealed gift, says Hart, through its "ceaseless flow of... intertwining variations." Hart adds with regard to historicity and to "the animating impulse of the tradition": "Once that vital force has moved on to assume new living configurations, the attempt unnaturally to preserve earlier forms can achieve nothing but... the perfumed repose of a cadaver."9 The "earlier forms" that once [End Page 216] contained the "vital force" must constantly be reconfigured within tradition's "ceaseless flow."Hart pictures a destabilizing "play of tension and resolution, stability and disintegration," and he holds that we must possess a "positive desire for moments of dissolution" if we are to be faithful to "whatever is most original and most final in a tradition." Only thus can whatever is "most imperishable in a tradition... be fitfully perceived, or at least sensed," by those few persons spiritually and intellectually able to do so. By comparison, I would suggest that the core realities of faith can be much more than "fitfully perceived" or "sensed"; I think dogmatic formulations serve... (shrink)

Michael Martin aims to affirm a certain pattern of first-person thinking by advocating disjunctivism, a theory of perceptual experience which combines naive realism with the epistemic conception of hallucination. In this paper I argue that we can affirm the pattern of thinking in question without the epistemic conception of hallucination. The first part of my paper explains the link that Martin draws between the first-person thinking and the epistemic conception of hallucination. The second part of my paper explains how we (...) can achieve Martin’s ambition without Martin’s theory. One resource that I enlist for this purpose is a naive-realist friendly conception of first-person access to experience. The metaphysical theory that I enlist is a form of naive realism that endorses an intentionalist or representationalist “common-factor” approach to veridical and hallucinatory experience. The third part of my paper briefly develops this theory. (shrink)