J. JUDD OWEN AND JEFFREY STOUT SUGGEST THE NEED TO RETHINK OUR understanding of the normative commitments of liberal democracy in response to recent challenges from its "cultured despisers". In this essay I argue that Owen and Stout fail to redeem liberal democracy against these critics because they reject the possibility of constitutional neutrality with respect to an indeterminate plurality of religions. As a result, a religious test on citizenship is inevitable under any democratic constitution expressed in their terms, and (...) this test lays liberal democracy open to the despisers' main line of attack. As an alternative, I offer a defense of constitutional neutrality that is based on the work of Franklin I. Gamwell, who has developed a compound conception of justice for this purpose. Gamwell systematically distinguishes between formative and substantive conceptions of justice and the role they play in a theory of constitutional democracy. On Gamwell's account, a democratic constitution expressed as a formative conception of justice will be neutral with respect to all substantive moral disagreement. As such, it can be consistently affirmed by the adherents of an indeterminate plurality of religions. This account of liberal democracy avoids a religious test on citizenship and therefore can overcome the core objection raised against it by its contemporary critics. (shrink)

In Testing for Athlete Citizenship: Regulating Doping and Sex in Sport, Kathryn E. Henne provides ‘a genealogical account of anti-doping regulation by questioning the meanings we take from sport’ (...

Like Laland et al., I think Mayr’s distinction is problematic, but I identify a further problem with it. I argue that Mayr’s distinction is a false dichotomy, and obscures an important question about evolutionary change. I show how this question, once revealed, sheds light on some debates in evo-devo that Laland et al.’s analysis cannot, and suggest that it provides a different view about how future integration between biological disciplines might proceed.

Sensitivity has sometimes been thought to be a highly epistemologically significant property, serving as a proxy for a kind of responsiveness to the facts that ensure that the truth of our beliefs isn’t just a lucky coincidence. But it's an imperfect proxy: there are various well-known cases in which sensitivity-based anti-luck conditions return the wrong verdicts. And as a result of these failures, contemporary theorists often dismiss such conditions out of hand. I show here, though, that a sensitivity-based understanding of (...) epistemic luck can be developed that respects what was attractive about sensitivity-based approaches in the first place but that's immune to these failures. (shrink)

A Benacerraf–Field challenge is an argument intended to show that common realist theories of a given domain are untenable: such theories make it impossible to explain how we’ve arrived at the truth in that domain, and insofar as a theory makes our reliability in a domain inexplicable, we must either reject that theory or give up the relevant beliefs. But there’s no consensus about what would count here as a satisfactory explanation of our reliability. It’s sometimes suggested that giving such (...) an explanation would involve showing that our beliefs meet some modal condition, but realists have claimed that this sort of modal interpretation of the challenge deprives it of any force: since the facts in question are metaphysically necessary and so obtain in all possible worlds, it’s trivially easy, even given realism, to show that our beliefs have the relevant modal features. Here I show that this claim is mistaken—what motivates a modal interpretation of the challenge in the first place also motivates an understanding of the relevant features in terms of epistemic possibilities rather than metaphysical possibilities, and there are indeed epistemically possible worlds where the facts in question don’t obtain. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Truth by convention, once thought to be the foundation of a uniquely promising approach to explaining our access to the truth in nonempirical domains, is nowadays widely considered an absurdity. Its fall from grace has been due largely to the influence of an argument that can be sketched as follows: our linguistic conventions have the power to make it the case that a sentence expresses a particular proposition, but they can’t by themselves generate truth; whether a given proposition is true—and (...) so whether the sentence that expresses it is true—is a matter of what the world is like, which means it isn’t a matter of convention alone. The consensus is that this argument is decisive against truth by convention. Strikingly, though, it has rarely been formulated with much precision. Here I provide a new rendering of the argument, one that reveals its structure and makes transparent just what assumptions it requires, and then I assess conventionalists’ prospects for resisting each of those assumptions. I conclude that the consensus is mistaken: contrary to what is almost universally thought, there remains a promising way forward for the conventionalist project. Along the way, I clarify conventionalists’ commitments by thinking about what truth by convention would need to be like in order for conventionalism to do the epistemological work it’s intended to do. (shrink)

Hilary Greaves and David Wallace argue that conditionalization maximizes expected accuracy and so is a rational requirement, but their argument presupposes a particular picture of the bridge between rationality and accuracy: the Best-Plan-to-Follow picture. And theorists such as Miriam Schoenfield and Robert Steel argue that it's possible to motivate an alternative picture—the Best-Plan-to-Make picture—that does not vindicate conditionalization. I show that these theorists are mistaken: it turns out that, if an update procedure maximizes expected accuracy on the Best-Plan-to-Follow picture, it's (...) guaranteed to maximize expected accuracy on the Best-Plan-to-Make picture as well, in which case moving from the former to the latter can't help us avoid the conclusion that conditionalization is a rational requirement. If there's a problem with Greaves and Wallace’s argument, it must lie elsewhere. (shrink)

The thesis that agents should calibrate their beliefs in the face of higher-order evidence—i.e., should adjust their first-order beliefs in response to evidence suggesting that the reasoning underlying those beliefs is faulty—is sometimes thought to be in tension with Bayesian approaches to belief update: in order to obey Bayesian norms, it's claimed, agents must remain steadfast in the face of higher-order evidence. But I argue that this claim is incorrect. In particular, I motivate a minimal constraint on a reasonable treatment (...) of the evolution of self-locating beliefs over time and show that calibrationism is compatible with any generalized Bayesian approach that respects this constraint. I then use this result to argue that remaining steadfast isn't the response to higher-order evidence that maximizes expected accuracy. (shrink)

I argue that Quinean naturalists’ holism-based arguments against analyticity and apriority are more difficult to resist than is generally supposed, for two reasons. First, although opponents of naturalism sometimes dismiss these arguments on the grounds that the holistic premises on which they depend are unacceptably radical, it turns out that the sort of holism required by these arguments is actually quite minimal. And second, although it’s true, as Grice and Strawson pointed out long ago, that these arguments can succeed only (...) if there isn’t any principled criterion for meaning change, such a criterion turns out to be hard to come by. David Chalmers has recently argued that such a criterion must exist, since the norms governing belief revision are subject to obvious exceptions that can be explained only by appeal to meaning change. But this, I argue, is incorrect: if choices about how to use language are themselves rationally assessable, then there are no such exceptions to be explained. To show that this is so, I formulate a new kind of coherence norm that may be useful for reasoning formally about the relationship between meaning and evidence. (shrink)

Readers of reports on ethical failures by four-star general officers must wonder, “Don’t they have staffs to ensure that the general follows ethics rules?” The Department of Defense publishes robust ethics guidance in several documents; however, a staff’s best efforts to implement this guidance may fail to make an impression on a senior leader who is susceptible to the “Bathsheba syndrome,” an allusion to the biblical account where the prophet Nathan rebuked King David for his moral failings. This paper proposes (...) a methodology to enable senior headquarters staffs to play the role of Nathan in supporting ethical behaviors by high-level officers. It examines the mechanisms that embed ethical behavior within members of those staffs in carrying out their three principal roles of advising, scheduling, and transporting the four-star officer. The authors offer a framework based on an ethical infrastructure of organizational climate that focuses the staff’s daily efforts to mitigate risk across seven ethical “danger areas” that threaten ethical failures by senior officers. (shrink)

Recent work by Brian Skyrms offers a very general way to think about how information flows and evolves in biological networks—from the way monkeys in a troop communicate to the way cells in a body coordinate their actions. A central feature of his account is a way to formally measure the quantity of information contained in the signals in these networks. In this article, we argue there is a tension between how Skyrms talks of signalling networks and his formal measure (...) of information. Although Skyrms refers to both how information flows through networks and that signals carry information, we show that his formal measure only captures the latter. We then suggest that to capture the notion of flow in signalling networks, we need to treat them as causal networks. This provides the formal tools to define a measure that does capture flow, and we do so by drawing on recent work defining causal specificity. Finally, we suggest that this new measure is crucial if we wish to explain how evolution creates information. For signals to play a role in explaining their own origins and stability, they can’t just carry information about acts; they must be difference-makers for acts. _1_ Signalling, Evolution, and Information _2_ Skyrms’s Measure of Information _3_ Carrying Information versus Information Flow _3.1_ Example 1 _3.2_ Example 2 _3.3_ Example 3 _4_ Signalling Networks Are Causal Networks _4.1_ Causal specificity _4.2_ Formalizing causal specificity _5_ Information Flow as Causal Control _5.1_ Example 1 _5.2_ Examples 2 and 3 _5.3_ Average control implicitly ‘holds fixed’ other pathways _6_ How Does Evolution Create Information? _7_ Conclusion Appendix >. (shrink)

Recent work by Brian Skyrms offers a very general way to think about how information flows and evolves in biological networks — from the way monkeys in a troop communicate, to the way cells in a body coordinate their actions. A central feature of his account is a way to formally measure the quantity of information contained in the signals in these networks. In this paper, we argue there is a tension between how Skyrms talks of signalling networks and his (...) formal measure of information. Although Skyrms refers to both how information flows through networks and that signals carry information, we show that his formal measure only captures the latter. We then suggest that to capture the notion of flow in signalling networks, we need to treat them as causal networks. This provides the formal tools to define a measure that does capture flow, and we do so by drawing on recent work defining causal specificity. Finally, we suggest that this new measure is crucial if we wish to explain how evolution creates information. For signals to play a role in explaining their own origins and stability, they can’t just carry information about acts: they must be difference-makers for acts. (shrink)

In one of the televised debates among Republican primary candidates for the 2012 U.S. presidential election, moderator Wolf Blitzer presented this hypothetical case to candidate Ron Paul:A healthy 30 year old young man has a good job, makes a good living, but decides — you know what — ‘I’m not going to spend 200 or 300 dollars a month for health insurance because I’m healthy, I don’t need it.’ But something terrible happens, all of a sudden he needs it. Who’s (...) going to pay if he goes into a coma?Paul, known for his libertarian views, initially responded that the patient “should assume responsibility for himself,” and that he should have purchased a major medical policy before he became ill. (shrink)

Object-oriented ontology has emerged as an academic field primarily devoted to opening inquiry into the relationship between human and nonhuman objects. By treating human and nonhuman things as ontologically coequal, this emerging philosophical school has rejected the correlationist and anthropocentric tendencies of most ethical systems. However, as objects expand and multiply, some become so big that they can’t be seen, understood, or described in the ordinary spatiotemporal sense. Precisely because they are here but cannot be consistently experienced, these unique objects (...) have severely complicated our lifeworld. For example, global warming can be remedially understood as a sum of many small objects.. (shrink)

In this paper I shall consider Hume's claim that it is in vain to ask “Whether there be body or not?’ I have often been puzzled by this interesting remark; puzzled as to just what he meant by it, why he said it, and whether he was right. I don't expect to do any more than explore some of the possibilities and suggest some tentative answers in this discussion. Hume seems to have argued that we can't take this question seriously (...) because we could never sincerely believe what we said if we denied that “body” exists; and that we can't have any genuine doubt on this head because “certain trivial qualities of the fancy” lead us inevitably into a “gross illusion”. We are thus stuck having to believe what we can prove to be false. Reason mocks us like a palsied hand, knocking away precisely what it tries hardest to grasp. This, I say, is what Hume seems to have argued. But let's see what else we can do with his words. I shall begin by giving a brief account of this belief in “body”. I shall then explore some senses in which the question of the existence of body might turn out to be vain. (shrink)

Background Paramedicine is a newly regulated profession in Australia and with the introduction of regulation in 2018 for this profession came increased responsibilities – including the introduction of a professional code of conduct. Several countries now have regulation of paramedicine and associated professional codes to guide ethical and professional behaviour. Despite this, there has been no published research into paramedic understanding and use of their professional codes. Objectives To explore Australian paramedics’ use and understanding of their professional code of conduct. (...) Research design: This study used a qualitative descriptive design, underpinned by hermeneutic theory. Reflexive thematic analysis was used to analyse the interview data and identify Australian paramedic perceptions surrounding the use of their code of conduct. Results 11 Registered Paramedics from several states and territories were interviewed. Participants were invited to interview by advertisement on social media and the Australasian College of Paramedicine Web site. Participants had varied professional backgrounds including clinical work, education providers and policymakers/managers. Four themes were identified as follows: Theme 1 – ‘You don’t know, what you can’t know’; Theme 2 – ‘I don’t need the code – the code is for others’; Theme 3 – ‘It’s about time’; Theme 4 – ‘Navigating the new profession’. Ethical considerations: Ethics approval was granted by the Monash University Human Research Ethics Committee (MUHREC) Project ID: 28921. All participants provided informed consent. Conclusions The results of this study suggest that paramedics’ knowledge and use of their code is limited, and participants appeared to mostly rely instead on ‘common sense’ morals. Participants did appear to want to understand the broad concepts of the code more and have this better integrated into the profession. The code was also interpreted as important to the paramedic profession and its new professional status, helping to legitimise it as a health profession in Australia. (shrink)

Enfolding Silence is a rare gem for exploring the aesthetic dimensions of epistemology and meaning-making through the arts in the context of historic communal injury. Author Brett Esaki invites his audience to consider how Japanese Americans have developed various art forms to cope with, resist, and transform traumatic experiences of racism, including the mass, unlawful internment of nearly 120,000 people of Japanese descent during World War II. By examining an extended ethnographic case study, educators and students can reflect on (...) how a community teaches aesthetically across generations, as one generation traumatized by racism teaches what matters culturally, aesthetically, and spiritually to the next. Esaki is... (shrink)

This article is concerned with theories and therapeutic practices that interpret post-traumatic combat stress as a ‘moral injury’ produced by the shock of carrying out lethal violence in uncertain battlefield conditions. While moral injury is said to share many symptoms with post-traumatic stress disorder, its proponents – military and Veterans Health Administration clinical psychologists, chaplains, and some psychiatrists – are concerned by PTSD’s inability to account for the meaning-based moral and ethical distress that counterinsurgency battlefields in Iraq and Afghanistan are (...) allegedly especially prone to produce in US soldiers. Moral injury theorists seem to want to describe a phenomenon that is both more profound than PTSD but which, as clinical psychologists Shira Maguen and Brett Litz state, is not itself a mental disorder. In this article, I examine the links between moral injury theory’s fringe diagnostic status and the fringe status of the kinds of violence it understands as uniquely injurious to soldiers’ psyches. Moral injury valorizes war-fighting and military culture while casting war as a source of almost inevitable psychopathology. I argue that moral injury theory represents an effort to carve out a distinct domain of psychological expertise but also a negotiation of the tension between war violence’s ‘normal’ practice and its excessive or morally hazardous manifestations – both of which link mental illness directly to the politics of war violence and post-war care. (shrink)

Fish, S. Georgics of the mind: Bacon's philosophy and the experience of his Essays.--Brett, R. L. Thomas Hobbes.--Watt, I. Realism and the novel.--Tuveson, E. Locke and Sterne.--Kampf, L. Gibbon and Hume.--Frye, N. Blake's case against Locke.--Abrams, M. H. Mechanical and organic psychologies of literary invention.--Ryle, G. Jane Austen and the moralists.--Schneewind, J. B. Moral problems and moral philosophy in the Victorian period.--Donagan, A. Victorian philosophical prose: J. S. Mill and F. H. Bradley.--Pitcher, G. Wittgenstein, nonsense, and Lewis Carroll.--Bolgan, A. (...) C. The philosophy of F. H. Bradley and the mind and art of T. S. Eliot: an introduction.--Davie, D. Yeats, Berkeley, and Romanticism.--Ross, M. L. The mythology of friendship: D. H. Lawrence, Bertrand Russell, and "The Blind man".--Rosenbaum, S. P. The philosophical realism of Virginia Woolf.--Bibliography (p. 357-360). (shrink)

Books Reviewed in this Article: Reason, Truth and History. By Hilary Putnam. Pp.xii, 222, Cambridge University Press, 1982, £15.00 , £4.95 . Fundamentals of philosophy. By David Stewart and H. Gene Blocker. Pp.xiii, 378, New York, Macmillan, 1982, £12.95. Modern Philosophy: An Introduction. By A.R. Lacey. Pp.vii, 246, London and Boston, Routledge & Kegan Paul, 1982, £7.95 , £3.95 . Merleau‐Ponty's Philosophy. By Samuel B. Mallin. Pp.xi, 302, New Haven and London, Yale University Press, 1979, £14.20. Thought and Object: Essays (...) on Intentionality. Edited by Andrew Woodfield. Pp.xvi, 316, Oxford, Clarendon Pressl Oxford University Press, 1982, £16.00. Philosophical Ethics: An Introduction to Moral Philosophy. By Tom L. Beauchamp. Pp.xv, 396, New York & London, McGraw‐Hill, 1982, £14.25. The Limits of Obligation. By James S. Fishkin. Pp.viii, 184, New Haven and London, Yale University Press, 1982, £12.95. Religion and the One: Philosophies East and West. By Frederick Copleston. Pp.281, London, Search Press, 1982, £10.50. Religious Experience and Christian Faith. By F.W. Dillistone. Pp.viii, 120. London, SCM Press, 1982, £4.95. Exploring Inner Space: Scientists and Religious Experience. By David Hay. Pp.256, Harmondsworth, Penguin Books, 1982, £2.95. Judaism and Psychoanalysis. Edited by Mortimer Ostrow. Pp.ix, 305, New York, Ktav, 1982, $20.00. Ecclesial Reflection: An Anatomy of Theological Method. By Edward Farley. Pp.xix, 380, Philadelphia, Fortress Press, 1982, $29.95. The Pastoral Nature of the Ministry. By Frank Wright. Pp.89, London, SCM Press, 1980, £2.50. Power and Authority in the Catholic Church. By Charles Dahm in collaboration with Robert Ghelardi. Pp.xviii, 334, Notre Dame, University of Notre Dame Press, 1981, £12.35. Religion in Sociological Perspective. By Bryan Wilson. Pp.vii. 187, Oxford University Press, 1982, £8.50. Myth, Religion and Society: Structuralist Essays. By M. Detienne, L. Gernet, J.‐P. Vernant and P. Vidal‐Naquet. Pp.xviii, 306, Cambridge University Press, 1981, £20.00 , £6.95 . Seven Theories of Human Society. By Tom Campbell. Pp.244, Oxford, Clarendon Press: Oxford University Press, 1981, £10.00. The Aims of Education Restated. By John White. Pp.xi, 177, London, Routledge & Kegan Paul, 1982, £8.95 , £4.95 . Love and Meaning in Religious Education: An Incarnational Approach to Teaching Christianity. By D.J. O'Leary and T. Sallnow. Pp.147, Oxford University Press, 1982, £3.50. Servant and Son: Jesus in Parable and Gospel. By J. Ramsey Michaels. Pp.xiii, 323, Atlanta, John Knox Press, 1981, £7.80. Parables for Now. By Edmund Flood. Pp.98, London, Darton, Longman and Todd, 1981, £2.50. More Parables for Now. By Edmund Flood. Pp.102, London, Darton, Longman and Todd, 1981, £2.50. Councils and Synods: With other Documents relating to the English Church, Vol.1 , A.D. 871–1204. Edited by D. Whitelock, M. Brett and C.N. Brooke. Pp.1 xxix, xii, 1151, Oxford University Press, 1981, £65.00. The Architectural History of Canterbury Cathedral. By Francis Woodman. Pp.xviii, 282, London, Routledge and Kegan Paul, 1981, £35.00. The Correspondence of Erasmus, Volume VI. Translated by R.A.B. Mynors and D.F.S. Thomson, annotated by Peter G. Bietenholz. Pp.xxii, 448, Toronto, University of Toronto Press, 1982, £56.25. Erasme: Vie de Jean Vitrier et de John Colet. Edited by Andrd Godin. Pp.160, Angers, Editions Moreana, 1982, $7.00. Erasme, lecteur d'Origène. By André Godin. Pp.ix, 724, Geneva, Librairie Droz, 1982, no price given. Thomas More: history and providence. By Alistair Fox. Pp.xi, 271, Oxford, Basil Blackwell, 1982, no price given. Thomas More: Essays on the Icon. Edited by D. Grace and B. Byron. Pp.129, Melbourne, Dove Communications, 1980, no price given. The Cambridge Connection and the Elizabethan Settlement of 1559. By W.S. Hudson. Pp.x, 158, Durham , Duke University Press, 1980, $14.75. Faith by Statute: Parliament and the Settlement of Religion, 1559. By Norman L. Jones. Pp.viii, 245 , London, Royal Historical Society, 1982, £17.52. Richard Hooker and the Politics of a Christian England. By Robert K. Faulkner. Pp.x, 190, Berkeley, University of California Press, 1981, £15.75. Icon and Conquest. By Bernadette Bucher. Pp.xvii, 220, Chicago, The University of Chicago Press, 1981, £9.95. The Wooden Churches of Eastern Europe: An Introductory Survey. By David Buxton. Pp.viii, 405, Cambridge University Press, 1982, £42.50. American Catholics: A History of the Roman Catholic Community in the United States. By James Hennessey. Pp.xii, 397, New York, Oxford University Press, 1981, £13.50. Peter Maurin: Prophet in the Twentieth Century. By Marc H. Ellis. Pp.191, Ramsey, New Jersey and Leominster, England, Paulist Press/Fowler Wright Books, 1981, £7.45. The Newman Movement: Roman Catholics in American Higher Education, 1883–1971. By John Whitney Evans. Pp.xvi, 248, Notre Dame, University of Notre Dame Press, 1980, $14.95. Priests and People in Pre‐Famine Ireland, 1780–1845. By S.J. Connolly. Pp.338, Dublin, Gill & Macmillan, 1982, £17.00. The Nonconformist Conscience: Chapel and Politics, 1870–1914. By D.W. Bebbington. Pp.x, 193, London, George Allen and Unwin, 1982, £10.00. Heinrich Pesch: sein Leben und seine Lehre. By Franz H. Mueller. Pp.220, Cologne, J.P. Bachem, 1980, no price given. Beyond Survival: Reflections on the Future of Judaism. By Dow Marmur. Pp.xix, 218, London, Darton, Longman and Todd, 1982, £7.95. (shrink)

I love books for many things, but I despise them for introducing a physical limit to the free circulation of knowledge (compared to the Internet). At least, that's what I had always thought. continent. is an online journal aiming at, among other things, breaking with the established paradigms of how academic work has to be published in order to be respected among relevant peers. I'm the engineer behind the current version of continent. , making it work and keeping it running (...) since began in 2010. We provide an online platform for knowledge to circulate, beyond the limitations of institutional attachment or distribution of physical volumes. And regardless of not having a physical publication ourselves, and being a trans-national endeavour with core members spread across three continents, we had the honour to join the Publish Or Be Damned fair and conference of Northern European independent book publishers at Index Art Foundation in Stockholm, Sweden. The place was bursting with exceptional volumes made by some of the most interesting publishers in the European north. The encounter changed the way I think about such books: these editions are designed, engineered and crafted to a level of sophistication that they begin to hold more than just their informational value printed. They convey and communicate a form of tactile knowledge and pleasure, and this completely changed my perspective on the matter. Because continent. had not materialised yet and only appeared in the form of social events (such as those in Basel, Boston, New York, or Zürich), we could not offer any such tactile pleasures to those visiting our booth. Given this, my solution was to turn continent. 's participation into a spectacle of simulation. With so many important figures of the independent publishing world present, we staged a series of imaginary book-launch moments for the camera. Presenting a first quasi-materialisation of continent. in the form of a book, or rather, the hypothetical extrapolation of our red square shape from our logo into a red 30x30 cm slate. Thanks to all those that participated. Your presences allowed continent. to visualise what it would be like if we had a book, and had been published within the honorable circle of these fine publishers. Soon the day will come where this will become reality. Thanks to all who joined the fun and didn't mind me showing these to the rest of the world. I'll publish them here, for them not to perish, even if I shall be damned. Ida Marie Hede Bertelsen ( Pork Salad Press ) Abdul Dube ( sideprojects ) René Sørensen ( sideprojects ) Anders ( OEI Editör ) Brett Bloom ( Half Letter Press ) Anni Puolakkaby ( OK Do ) Kit Hammonds, Kate Phillimore, Louise O'Hare ( Publish and Be Damned ) Ingvar Högni ( Útúrdúr ) Fredrik Ehlin, Andjeas Ejksson, Oscar Mangione ( Geist Magazine ) Klara Källström, Thobias Fäldt ( B-B-B Books ) Laura Hatfield ( Witnas editors ) Chris Johnsen ( WITNAS editors ) Matthew Rana ( Witnas editors ) Ola Ståhl & Carl Lindh ( In Edit Mode Press ) Staffan Lundgren ( Axl Books ) Tuuka Kaila ( NAPA Books ) Vebjørn Guttormsgaard Møllberg + Ingrid Forlang ( Kuk et Parfyme ) Diana Baldon, Joanna Nowotny and Egle Kulbokaite ( Index Foundation ). (shrink)

It is shown that the logical truth of instances of the T-schema is incompatible with the formal nature of logical truth. In particular, since the formality of logical truth entails that the set of logical truths is closed under substitution, the logical truth of T-schema instances entails that all sentences are logical truths.

In the 2005 Kitzmiller v Dover Area School Board case, a federal district court ruled that Intelligent Design creationism was not science, but a disguised religious view and that teaching it in public schools is unconstitutional. But creationists contend that it is illegitimate to distinguish science and religion, citing philosophers Quinn and especially Laudan, who had criticized a similar ruling in the 1981 McLean v. Arkansas creation-science case on the grounds that no necessary and sufficient demarcation criterion was possible and (...) that demarcation was a dead pseudo-problem. This article discusses problems with those conclusions and their application to the quite different reasoning between these two cases. Laudan focused too narrowly on the problem of demarcation as Popper defined it. Distinguishing science from religion was and remains an important conceptual issue with significant practical import, and philosophers who say there is no difference have lost touch with reality in a profound and perverse way. The Kitzmiller case did not rely on a strict demarcation criterion, but appealed only to a “ballpark” demarcation that identifies methodological naturalism (MN) as a “ground rule” of science. MN is shown to be a distinguishing feature of science both in explicit statements from scientific organizations and in actual practice. There is good reason to think that MN is shared as a tacit assumption among philosophers who emphasize other demarcation criteria and even by Laudan himself. (shrink)

In the 2005 Kitzmiller v Dover Area School Board case, a federal district court ruled that Intelligent Design creationism was not science, but a disguised religious view and that teaching it in public schools is unconstitutional. But creationists contend that it is illegitimate to distinguish science and religion, citing philosophers Quinn and especially Laudan, who had criticized a similar ruling in the 1981 McLean v. Arkansas creation-science case on the grounds that no necessary and sufficient demarcation criterion was possible and (...) that demarcation was a dead pseudo-problem. This article discusses problems with those conclusions and their application to the quite different reasoning between these two cases. Laudan focused too narrowly on the problem of demarcation as Popper defined it. Distinguishing science from religion was and remains an important conceptual issue with significant practical import, and philosophers who say there is no difference have lost touch with reality in a profound and perverse way. The Kitzmiller case did not rely on a strict demarcation criterion, but appealed only to a “ballpark” demarcation that identifies methodological naturalism as a “ground rule” of science. MN is shown to be a distinguishing feature of science both in explicit statements from scientific organizations and in actual practice. There is good reason to think that MN is shared as a tacit assumption among philosophers who emphasize other demarcation criteria and even by Laudan himself. (shrink)

In recent years the resource-based view of the firm has made significant headway in explaining differences in interfirm performance. However, this perspective has not considered the social and ethical dimensions of organizational resources. This paper seeks to provide such an integration. Using Kuhn's three stage model of adaptive behavior, the resource worthiness of stakeholder management, business ethics, and issues management are explored. The paper concludes by drawing on prospect theory to understand the reasons for this conceptual lacuna.

Every day, new warnings emerge about artificial intelligence rebelling against us. All the while, a more immediate dilemma flies under the radar. Have forces been unleashed that are thrusting humanity down an ill-advised path, one that's increasingly making us behave like simple machines? In this wide-reaching, interdisciplinary book, Brett Frischmann and Evan Selinger examine what's happening to our lives as society embraces big data, predictive analytics, and smart environments. They explain how the goal of designing programmable worlds goes hand (...) in hand with engineering predictable and programmable people. Detailing new frameworks, provocative case studies, and mind-blowing thought experiments, Frischmann and Selinger reveal hidden connections between fitness trackers, electronic contracts, social media platforms, robotic companions, fake news, autonomous cars, and more. This powerful analysis should be read by anyone interested in understanding exactly how technology threatens the future of our society, and what we can do now to build something better. (shrink)