In this sweeping history of animal research and the animal protection movement, Deborah Rudacille examines the ethical question of whether enhancement of human life justifies the use of animals for research. She shows how the question and the answers provided by both scientists and anti-vivisectionists over the past 150 years have shaped contemporary society. Rudacille anchors her narrative in events from the lives of key players in the history of the war between science and animal protection, describing (...) the work of activists who work outside the law as well as those working to change the system from within. (shrink)

Descartes’s uncompromising rejection of the possibility of animal intelligence was among his most controversial theses. That rejection is based on (1) his commitment to the doctrine of animal automatism and (2) two tests that he takes to be sufficient indicators of thought (the action and language tests). Of these two tests, only the language test is truly definitive, and Descartes is firmly of the view that no animal could demonstrate the capacity to use signs to convey meaning in “all the (...) circumstances of life.” The topic is fascinating for forcing us to ponder what exactly reason is for Descartes and the role it plays in everyday life. This article explores the tensions in Descartes’s arguments produced by an over reliance on the analogy between animals and clocks, including the question of what to make of Descartes’s recognition of the need to posit representational and information-processing subsystems in the brain. (shrink)

This chapter contains section titled: Introduction Objective Reality in the Cartesian Framework Material Falsity and Its Problems Reading 1: Descartes Abandons Material Falsity Reading 2: Reconciling Material Falsity and Objective Reality Response to the Dilemma of Uncaused Ideas The Identity of Ideas References and Further Reading.

Absence of evidence arguments are indispensable to comparative neurobiology. The absence in a given species of a homologous neural architecture strongly correlated with a type of conscious experience in humans should be able to be taken as a prima facie reason for concluding that the species in question does not have the capacity for that conscious experience. Absence of evidence reasoning is, however, widely disparaged for being both logically illicit and unscientific. This paper argues that these concerns are unwarranted. There (...) is no logical barrier to formulating cogent absence of evidence arguments; indeed, accepting such arguments is part of what it is to be committed to falsifiability as a critical aspect of the scientific method. Absence of evidence arguments can always be blocked, however, by assuming that psychological properties are ‘multiply realizable’. While we take multiple realizability to be highly likely at some level of analysis, we argue that it is question-begging to assume that it exists at every level of analysis, and thus it should not automatically be thought to undermine absence of evidence reasoning in the animal consciousness debate. Using the example of pain and focusing on homologies at the level of information processing tasks, we show how, in the science of consciousness, an absence of evidence might well serve as evidence of absence. (shrink)

The deontic model of justice and ethical behavior proposes that people care about justice simply for the sake of justice. This is an important consideration for business ethics because it implies that justice and ethical behavior are naturally occurring phenomenaindependent of system controls or individual self-interest. To date, research on the deontic model and third-party reactions to injustice has focused primarily on individuals’ tendency to punish transgressors. This research has revealed that witnesses to injustice will consider sacrificing their own resources (...) if it is the only way to sanction an observed transgressor. In this paper we seek to extend this model by arguing that punishment may not be the only “deontic” reaction, and that in fact, third-party observers of injustice may engage in moral self-regulation that would lead them to conclude that the most ethical response is to do nothing. We provide preliminary evidence for our propositions using voiced cognitions data collected during a resource allocation task. Results indicate that deonance may be more complex than originally thought, and previous tests of the model conservative in nature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 78-98 [Access article in PDF] Aesthetic Understanding as Informed Experience:The Role of Knowledge in Our Art Viewing Experiences Richard Lachapelle, Deborah Murray, and Sandy Neim [Figures] Thinking calls for images, and images contain thought. Therefore, the visual arts are a homeground of visual thinking. 1A common misconception about the nature of art and of aesthetic appreciation is that these activities are (...) essentially a question of "feeling," as if tuning in to the right feeling will automatically lead to a full understanding of the work of art. Another widespread misunderstanding essentially reduces art viewing to a simple question of perception, as if looking long and hard isalways enough to apprehend the work of art's message. Fortunately, a growing body of research into adults' art viewing experiences is debunking these widely held beliefs as oversimplifications of the art viewing process. We can now assert, with a good degree of certainty, that our art viewing experiences solicit four key areas: the affective, perceptual, communicative, and cognitive dimensions of human experiencing. 2 Therefore, we would be hard-pressed not to agree with Rudolph Arnheim's reflections, presented above, on the important role of thought in shaping our artistic and aesthetic experiences.While acknowledging at the outset the essential roles of affect, perception, and communication in our art viewing experiences, this paper focuses more specifically on aspects of the intellectual dimension of this experience. First, we will present and discuss a model that we have developed over the last several years. This model identifies the kinds of knowledge and learning involved in art viewing activities. Second, we will present the results of an empirical study conducted to provide support for the model. Finally we will briefly discuss the model's usefulness for the purposes of aesthetic education. [End Page 78] The Model of Aesthetic Understanding as Informed Experience The Model of Aesthetic Understanding as Informed Experience provides an explanation of the process of understanding and appreciating a work of art from an educational perspective: it identifies the types of knowledge involved and it also pinpoints the kinds of learning at each stage in the process leading to an understanding of the aesthetic object.In this model, the process of viewing and understanding a work of art is visualized as a two-phased type of informed experience. Through a process of experiential learning, the viewer first encounters the work of art and formulates an initial interpretation. Then, through a process involving theoretical learning, the viewer compares his or her first interpretation with a related body of external, scientific information. This second step in the learning process leads to a reconstruction of knowledge about the work of art. Tandem use of the two processes assists the viewer in furthering his or her understanding of the art object; it also promotes growth in his or her art viewing skills. In the course of each new encounter with an aesthetic object, the interplay of experiential and theoretical learning leads to additional development of the viewer's background knowledge in art, resulting in better preparedness to successfully engage the next work of art. 4 Theoretical Foundations of the Model Three different theories informed the development of the model. 5 By using anecdotal evidence obtained from a group of fifty-two museum professionals, Mihaly Csikszentmihalyi and Rick E.Robinson were able to identify the four major dimensions of aesthetic experience: intellect, communication, perception, and emotion. Each one of these dimensions constitutes, to some extent, a challenge that the work of art addresses to the viewer. According to these researchers, the intellectual dimension of aesthetic experience consists of all aspects of the viewer's attempts to use knowledge in order to find meaning in the work of art (TAS, 27-71). Csikszentmihalyi and Robinson also propose a model that describes the aesthetic encounter in terms of an interaction between the viewer, the work of art, and the artist. To this encounter, the viewer brings his skills in aesthetic appreciation; these may be... (shrink)

This article explores a certain type of affect that accompanied the post-1945 European dream: the feeling that an impassable distance separates us from worlds at war. Starting with the interplay between protected spaces and devastated territories, the article seeks to trace the operations that give life to this affect of distance. How does this distance play a part in our ways of being at war? And what kind of agentivity is at work, which makes it possible not to feel involved? (...) Drawing on Martha Rosler’s montages of images and a fragment of Simone Weil, the article unravels the tortuous mechanisms that allow us to be at war, while at the same time setting war apart. (shrink)

Many of the central theses of Hume's philosophy – his rejection of real relations, universals, abstract objects and necessary causal relations – had precedents in the later medieval nominalist tradition. Hume and his medieval predecessors developed complex semantic theories to show both how ontologies are apt to become inflated and how, if we understand carefully the processes by which meaning is generated, we can achieve greater ontological parsimony. Tracing a trajectory from those medieval traditions to Hume reveals Hume to be (...) more radical, particularly in his rejection of abstraction and abstract ideas. Hume's denial of general, abstract ideas is consistent with his philosophical principles but fails to appreciate the more sophisticated nominalist approaches to abstraction, the result of which is a theoretically impoverished account of our capacity for generalization. (shrink)

In classical Arabic philosophy, the topic of consciousness is commonly associated with Avicenna's ‘Flying Man’ thought experiment. But Avicenna's explorations of the nature of consciousness are not confined to the Flying Man, and he is by no means the only classical Islamic thinker to deem consciousness an important feature of our experience. Consciousness also plays a important role in the epistemology and moral psychology of Avicenna's intellectual rivals, the theologians (mutakallumūn), who represent important sources for Avicenna's own theorizing about consciousness. (...) And while Avicenna's philosophical successor and critic, Averroes, seems to banish consciousness from the core of his cognitive psychology, in doing so he seems to anticipate contemporary efforts to expand the scope of consciousness through the notion of the ‘extended’ mind. This paper examines the varieties of consciousness recognized by Avicenna and several other classical Islamic thinkers with a view to understanding the extent to which their accounts can be mapped on to some of the concepts of consciousness delineated by contemporary philosophers of mind. (shrink)

It is often assumed that in the collapse of the Aristotelian distinction between art and nature that results from the rise of mechanical philosophies in the early modern period, the collapse falls on the side of art. That is, all of the diversity among natures that was explained previously as differences among substantial forms came to be seen simply as differences in arrangements of matter according to laws instituted by the “divine artificer”, God. This paper argues that, for René Descartes, (...) the collapse occurs on both sides. Natures are artefacts of God, and human artefacts, under some conditions, can be classified as natures or, at least, continuous within nature. Drawing on developments across both horticulture and engineering in the 16th and 17th centuries, as well as Descartes’ mechanical philosophy, this paper explores challenges to the Aristotelian nature/art distinction. The question then is what, in the advent of this collapse, are human artificers doing when they construct artefacts? Are they replicating God’s powers by creating new natures, or are they doing something else, and if so, what might that be? It is argued that we should view human invention for Descartes not as creating new natures so much as discovering them. These findings have consequences for how we interpret Descartes’ use of the term “nature” in relation to automata and other artefacts produced by human hands. (shrink)

Through a consideration of the views of R.G. Collingwood on historical knowledge and conceptual change, this paper addresses organisational issues such as history, culture and memory. It then subjects the idea of ‘learning histories’ to critical scrutiny. It concludes that, because of their potential to become framing mental models, they may be in danger of failing to achieve the purposes for which they are used.

Il peut paraître étonnant ou désuet d’évoquer l’existence d’une exigence communautaire. Etonnant au regard du contexte historique des deux textes de Rosenzweig qui nous préoccupent aujourd’hui, « Globus » et L’Étoile de la Rédemption, écrits au cœur de la « Grande Guerre », de cette guerre déclenchée au nom du principe des nationalités et dont Rosenzweig dénonce justement l’idéologie communautaire qui justifie le sacrifice des vies humaines pour sauvegarder le maintien des États-Nations. Parl...

Cet article interroge la manière dont la guerre devient le lieu, de part et d’autre des deux Guerres mondiales, depuis lequel se déploie une double scène de la violence, entre exposition et profondeur : d’une part un monde de plus en plus à découvert, où tout semble exposé à la violence, et où celle-ci s’allie à des exigences de luminosité continue et illimitée ; de l’autre, la guerre ne va pas cesser d’être réinvestie par de nouveaux appels des profondeurs, de (...) nouvelles requêtes d’intériorité. L’article propose de chercher chez Walter Benjamin, dont les écrits des années trente sont hantés par la nécessité d’extraire la pensée de l’horizon de la guerre, une prise qui permet de résister à ces deux gestes et à leurs dialectiques infernales. Nous construisons cette prise à partir de ce que Benjamin nomme la pauvreté de l’expérience, et notamment la manière dont celle-ci convoque un matériau particulier : le verre et les nouveaux espaces qu’il rend pensables. L’évocation du verre est toute entière imbriquée dans des images de la violence : elle permet de fictionner des manières d’y résister, mais en partant de sa proximité avec elles, et non en rêvant leur dépassement. (shrink)

RésuméL'énigme de Hume au sujet de la connaissance de soi repose sur l'idée qu'il n'y a pour l'esprit que deux modes d'accès épistémique à soi-même: le contact direct ou non inférentiel avec le soi, d'une part, et la connaissance indirecte, à base d'inférence, d'autre part. Hume rejette le premier de ces modes enpartant de ceci que nous n'avons dans l'introspection qu'une connaissance des expériences et jamais de la substance mentale, et il rejette le second comme incapable de contrer le scepticisme, (...) sa conclusion étant que ce nous appelons un soi n'est rien d'autre que l'amas des expériences que nous rencontrons. Il y a, cependant, en plus de ces deux modes d'accès, une troisième possibilité, que Hume ne semble jamais prendre en considération, mais qui était caractéristique de l'approche de Thomas d'Aquin à la connaissance de soi, comme de celle de Descartes. Pour ces auteurs, le mode d'accès que l 'esprit a à lui-même est une connaissance indirecte non inférentielle. Le présent article propose ainsi de repenser la façon dont ces philosophes ont conçu la connaissance qu'un individu a de lui-même. En particulier, l'un des aspects de la doctrine de Thomas d'Aquin qui est souvent négligé concerne le rôle que joue dans la connaissance du soi individuel la prise de conscience de l'implication de la volonté dans la pensée. (shrink)

Volume 97, Issue 3, September 2019, Page 632-632.

The Remarks and Admonitions is one of the last works written by the Islamic philosopher Avicenna. Like his more familiar works, the Shifa' and the Najah, this work covers the entire scope of theoretical philosophy, with its first three parts being devoted to logic, physics, and metaphysics, respectively. Part Four of this work is unique, however, since it moves outside the confines of philosophy and takes up the topic of mysticism, employing concepts and terms familiar from the tradition of Sufism. (...) Following upon her excellent translation and study of the first part of this work over a decade ago, Shams Inati has here provided students of Islamic philosophy with another fine and readable translation of Part Four, together with an extensive introduction detailing the contents of the work and its parallels with other Avicennian texts. (shrink)