Investigation of the evolution of the DNA sequences that comprise a small gene cluster in five closely related species of Drosophila shows that it evolves as a mosaic, with adjacent subregions displaying very different rates and types of evolution. It appears that local differences in the influence of selectional and mutational forces result in the formation of these distinct subregions.

Communities of Style: Portable Luxury Arts, Identity, and Collective Memory in the Iron Age Levant. By Marian H. Feldman. Chicago: University of Chicago Press, 2014. Pp. xvii + 250, illus. $70.

In 2001, the algebraico-tree-theoretic simplicity hierarchical structure of J. H. Conway’s ordered field ${\mathbf {No}}$ of surreal numbers was brought to the fore by the first author and employed to provide necessary and sufficient conditions for an ordered field to be isomorphic to an initial subfield of ${\mathbf {No}}$, i.e. a subfield of ${\mathbf {No}}$ that is an initial subtree of ${\mathbf {No}}$. In this sequel, analogous results are established for ordered exponential fields, making use of a slight generalization of (...) Schmeling’s conception of a transseries field. It is further shown that a wide range of ordered exponential fields are isomorphic to initial exponential subfields of $$. These include all models of $T$, where ${\mathbb R}_W$ is the reals expanded by a convergent Weierstrass system W. Of these, those we call trigonometric-exponential fields are given particular attention. It is shown that the exponential functions on the initial trigonometric-exponential subfields of ${\mathbf {No}}$, which includes ${\mathbf {No}}$ itself, extend to canonical exponential functions on their surcomplex counterparts. The image of the canonical map of the ordered exponential field ${\mathbb T}^{LE}$ of logarithmic-exponential transseries into ${\mathbf {No}}$ is shown to be initial, as are the ordered exponential fields ${\mathbb R})^{EL}$ and ${\mathbb R}\langle \langle \omega \rangle \rangle $. (shrink)

This book addresses a prominent group of virtues and vices as portrayed in popular films to further our understanding of these moral character traits. The discussions emphasize the interplay between the philosophical conception of the virtues and vices and the cinematic representations of character. Joseph H. Kupfer explores how fictional characters possessing certain moral strengths and weaknesses concretize our abstract understanding of them. Because the actions that flow from these traits occur in cinematic contexts mirroring real world conditions, the narrative (...) portrayals of these moral characteristics can further our appreciation of their import. Humility, integrity, and perseverance, for example, are depicted in Chariots of Fire, The Fabulous Baker Boys, and Billy Elliot, while the vices of envy, arrogance and vanity are captured in Amadeus, Whiplash, and Young Adult. This interdisciplinary work in philosophy and film criticism will be of great interest to scholars and students of film studies, philosophy of film, ethics, aesthetics, and popular culture. (shrink)

This volume brings together leading philosophers of Judaism on the issue of autonomy in the Jewish tradition. Addressing themselves to the relationship of the individual Jew to the Jewish community and to the world at large, some selections are systematic in scope, while others are more historically focused. The authors address issues ranging from the earliest expressions of individual human fulfillment in the Bible and medieval Jewish discussions of the human good to modern discussions of the necessity for the Jew (...) to maintain both a Jewish sensibility as well as an active engagement in the modern pluralistic state. Contributors include Eugene Borowitz, Elliot N. Dorff, Daniel H. Frank, Robert Gibbs, Lenn E. Goodman, Ze'ev Levy, Kenneth Seeskin, and Martin D. Yaffe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:207 THE CARELESS SKEPTIC THE 'PAMPHILIAN' IRONIES IN HUME'S DIALOGUES In "Hume and the Legacy of the Dialogues" E. C. Mossner sets out a widely accepted interpretation of one of Hume's major intentions in that great work. He argues that Hume's main use of irony therein is to dissimulate with respect to his true religious convictions. The purpose is to provide Hume with a defense against the expected negative (...) reaction to the powerful attack on religion mounted 2 in the Dialogues. The attack, as is well known, is set out in the arguments of Philo against natural and revealed religion as espoused by Cleanthes and Demea, and Philo's views are taken to be those of Hume. It is argued or assumed that since such attacks were in Hume's day imprudent, they must be made by indirection, that is, by a device such as irony. Thus the Dialogues have surface meanings in which the religious views under attack are said (by Pamphilus) to win out; they also have other meanings, underlying or implicit, in which the religious views are conclusively refuted. That they are refuted is a conclusion drawn by the interpreters, in the present case Mossner and those who share his views. These destructive refutations are derived from explication and assessment of the ongoing argument as embodied in the explicit statements of the contestants, and are thus not explicitly linked to Hume. In consequence, quite often from one standpoint (a trivial one of external comment by an immature and prejudiced onlooker) the design argument wins; and from another, more sophisticated one, it loses. The upshot is that "Philo, who as Hume's spokesman for mitigated 208 skepticism will perforce be the victor in the philosophic debate, will nevertheless be 'artfully' depicted as being vanquished by the antagonist." The strategy Mossner finds in the Dialogues thus has the youthful Pamphilus, a ward of Cleanthes, and one who takes no actual part in the adversarial discussions, interposing (in brief asides) comments that superficially but subtly belittle Philo's philosophical position. Philo is characterized, for instance, as having a "careless scepticism," in contrast with Cleanthes, who has an "accurate philosophical turn [of mind]" (D 128). Similarly, at the end of the Dialogues, Pamphilus awards the victory to Cleanthes. In support of his thesis that Philo is a devious Hume's mouthpiece, Mossner brings forth two kinds of evidence, roughly characterizable as external and internal. One kind of external evidence is exemplified in Hume's correspondence with Gilbert 4 5 Elliot of Minto, and Adam Smith; the letters involved are interpreted as showing that Philo represents Hume. Another kind involves comparing the amount of space devoted to the arguments of the three adversaries. The internal evidence is derived from the explication and appraisal of the explicit statements of the contestants; and it is essentially identified with the arguments and conclusions of Philo, except where Cleanthes can be said to make claims which square with those made by Hume in other works such as the Treatise. Thus Hume's views and the related arguments are interpreted as those of Philo, in part because they are considered to be more valid and sound than those of Cleanthes, and in part because they are held to square with the views and arguments affirmed in Hume's other writings. Hume's views, as indicated above, are taken to be those of 209 Philo except where Philo appears to agree with Cleanthes and to accept a form of the design argument. Hume is Cleanthes when Cleanthes sets forth doctrines of the Treatise and the Enquiry that are in accordance with the received (more or less) positivistic interpretation of Hume's skepticism. It is this view that requires that in those places in Parts III, X, and XII, where Philo appears to avow a form of the design argument or to let it stand unrefuted, he be (ironically) dissimulating. Thus the surface victories of Cleanthes and natural religion, which the adversarial flow of the statements of Philo and Cleanthes exhibits, are refuted by the propositions derived from the assessed form and content of the philosophical debate. The basic irony, therefore, lies in aspects of the... (shrink)

Children are not simply molded by the environment; through constant inference and interpretation, they actively shape their own social world. This book is about that process. Elliot Turiel's work focuses on the development of moral judgment in children and adolescents and, more generally, on their evolving understanding of the conventions of social systems. His research suggests that social judgements are ordered, systematic, subtly discriminative, and related to behavior. His theory of the ways in which children generate social knowledge through (...) their social experiences will be of interest to a wide range of researchers and students in child development and education. (shrink)

Elliot R. Wolfson intervenes in the debate over Martin Heidegger and Nazism from a unique perspective, as a scholar of Jewish mysticism and philosophy who has been profoundly influenced by Heidegger's work. He reveals crucial aspects of Heidegger's thinking that betray an affinity with dimensions of Jewish thought.

Metaethical expressivism faces the perennial objection that its commitment to non‐cognitivism about moral judgment renders the view revisionary of our ordinary moral thought. The standard response to this objection is to say that since the expressivist's theoretical commitments about the nature of moral judgment are independent of normative ethics, the view cannot be revisionary of normative ethics. This essay seeks to evaluate the standard response by exploring several senses of independence that expressivism might enjoy from normative ethics. I develop a (...) taxonomy on which, at least by the expressivist's own lights, normative ethics is not dependent on non‐cognitivism about moral judgment in a way that might render that claim itself normative ethical. The argument will require us to formulate a theory of moral subject matter according to the expressivist, a matter of independent interest. Although this discussion will essentially vindicate the standard response to the perennial objection, it will also highlight a major limitation thereof. This is that even for the expressivist, the taxonomic independence of non‐cognitivism about moral judgment from normative ethics does not guarantee its moral independence from normative ethics; that is, showing that non‐cognitivism about moral judgment is not a moral claim is not itself to show that it is not a morally relevant claim. I conclude by arguing that the question of moral dependence, usually discussed under the heading of objectivity, is ultimately first‐order moral rather than taxonomic, and so can only be resolved on first‐order moral grounds. (shrink)

This entry provides a substantive overview of research and debates concerning creativity in philosophy and related fields. Topics covered include definitions of creativity, whether creativity can be learned, whether it can be explained, attempts to explain creativity in cognitive science, and whether computer programs or AI systems can be creative.

Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological implication: (...) when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced. (shrink)

Descartes is widely portrayed as the arch proponent of “the epistemological transparency of thought” (or simply, “Transparency”). The most promising version of this view—Transparency-through-Introspection—says that introspecting (i.e., inwardly attending to) a thought guarantees certain knowledge of that thought. But Descartes rejects this view and provides numerous counterexamples to it. I argue that, instead, Descartes’s theory of self-knowledge is just an application of his general theory of knowledge. According to his general theory, certain knowledge is acquired only through clear and distinct (...) intellection. Thus, in his view, certain knowledge of one’s thoughts is acquired only through clear and distinct intellection of one’s thoughts. Introspection is a form of intellection and it can be clear and distinct. Ordinarily, however, introspection isn’t clear and distinct but is instead confused with dubitable perceptions of bodies. To make introspection clear and distinct, we need to “sharply separate” it from all perceptions of bodies by doubting all perceptions of bodies. Without such radical doubt, introspection remains confused and we lack certain knowledge not just of the specific features of our thoughts, but even of the minimal claim that a thought exists. Far from being the high priest of Transparency, Descartes is radically opposed to it. (shrink)

A debate persists over how to distinguish manic states from non-manic ones (such as depressions). A lacuna exists amongst these efforts, where a specifically agentive account of mania would sit. An agentive account centers the manic person’s view of practical reasons, rationalizing their actions in the same way that sympathetic understandings rationalize the actions of more neurotypical agents. In this paper, I argue that mania restructures our agency by creating a pervasive sense of urgency. This urgency changes the kind of (...) handling that our practical reasons seem to call out for. Whilst this can make us less reliable as agents, I argue that this does not undermine the basic capacities on which personal autonomy is founded. The greater threat to manic agents’ autonomy is nonrecognition of this restructured agency, undermining autonomy in its social dimensions. Without an agentive account, we will fail to recognize distinctly manic agency when we see it, limiting our understanding of autonomy, and withholding recognition, fundamental to autonomy in its social dimensions, from manic agents. (shrink)

This paper explicates Descartes’ theory of intuition (intuitus). Departing from certain commentators, I argue that intuition, for Descartes, is a form of clear and distinct intellectual perception. Because it is clear and distinct, it is indubitable, infallible, and provides a grade of certain knowledge he calls ‘cognitio’. I pay special attention to why he treats intuition as a form of perception, and what he means when he says it is ‘clear and distinct’. Finally, I situate his view in relation to (...) those of his Scholastic predecessors on one hand and current theories on the other. His view anticipates the contemporary ‘perceptual model of intuition’, though it is much bolder with its promise of certainty. (shrink)

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

Clear and distinct perception is the centrepiece of Descartes’s philosophy — it is the source of all certainty — but what does he mean by ‘clear’ and ‘distinct’? According to the prevailing approach, what it means for a perception to be clear is that its content has a certain objective property, like truth. I argue instead that clarity is at least partly a subjective, phenomenal quality whereby a content is presented as true to the perceiving subject. Clarity comes in degrees. (...) Any weak degree of clarity, available to the senses, can be merely subjective, since what it presents as true may not actually be true. But complete clarity, available to intellectual perception, has an objective dimension, since what it presents as true is always some truth, some bit of reality. Further, I argue that the other perceptual qualities that Descartes identifies — obscurity, confusion, and distinctness — are all defined in terms of clarity. Of particular note is the fact that distinctness is not a positive feature to be added to clarity: a distinct perception is just a completely clear perception. (shrink)

There is a strong presumption that mental disorder injures a person's autonomy, understood as a set of capacities and as an ideal condition of agency which is worth striving for. However, recent multidimensional approaches to autonomy have revealed a greater diversity in ways of being autonomous than has previously been appreciated. This presumption, then, risks wrongly dismissing variant, neuro-atypical sorts of autonomy as non-autonomy. This is both an epistemic error, which impairs our understanding of autonomy as a phenomenon, and a (...) moral error, which withholds recognition and respect that autonomous agents are due. I argue that careful attention to the different 'shapes' of agent's autonomy reveals that there are indeed distinctive kinds of neuro-atypical autonomy that are widely mistaken for non-autonomy. This project argues for two propositions. First, that there is a kind of autonomy, with a distinctive shape and texture, available to bipolar agents. This is a variant sort of autonomy, but not a defective or deficient sort. It is the ideal of autonomy that it is worth bipolar agents striving for, given the range and intensity of experiences that they will have to confront. Whilst bipolar autonomy will look unlike more neurotypical kinds of autonomy, it continues to be owed recognition. The second proposition is that we should understand the ideal of autonomy to be both pluralist and highly context sensitive. Given the range of starting points from which agents will strive to an ideal of autonomy, there will be some variation in the ideals worth striving for. The variation in ideals will reflect the existential realities they are local to. Theory of autonomy must be adapted to recognise bipolar, and other neuro-atypical, kinds of autonomy, and to reflect this wider pluralism. These propositions will be argued for with careful attention to the experiences and agency of people living with bipolar, or related, disorders. Understanding the ways that manic or depressive episodes, and the shifts between them, alter and apply pressure to our agency will inform an account of the distinctively bipolar autonomy that can be built on top of it. (shrink)

This paper explicates Descartes’ theory of intuition (intuitus). Departing from certain commentators, I argue that intuition, for Descartes, is a form of clear and distinct intellectual perception. Because it is clear and distinct, it is indubitable, infallible, and provides a grade of certain knowledge he calls ‘cognitio’. I pay special attention to why he treats intuition as a form of perception, and what he means when he says it is ‘clear and distinct’. Finally, I situate his view in relation to (...) those of his Scholastic predecessors on one hand and current theories on the other. His view anticipates the contemporary ‘perceptual model of intuition’, though it is much bolder with its promise of certainty. (shrink)

For the past two decades, it has widely been assumed by linguists that there is a single computational operation, Merge, which is unique to language, distinguishing it from other cognitive domains. The intention of this paper is to progress the discussion of language evolution in two ways: (i) survey what the ethological record reveals about the uniqueness of the human computational system, and (ii) explore how syntactic theories account for what ethology may determine to be human-specific. It is shown that (...) the operation Label, not Merge, constitutes the evolutionary novelty which distinguishes human language from non-human computational systems; a proposal lending weight to a Weak Continuity Hypothesis and leading to the formation of what is termed Computational Ethology. Some directions for future ethological research are suggested. (shrink)