Johnson and Stricker published an opinion piece in the Journal of Medical Ethics presenting their perspective on the 2008 agreement between the Infectious Diseases Society of America (IDSA) and the Connecticut Attorney General with regard to the 2006 IDSA treatment guideline for Lyme disease. Their writings indicate that these authors hold unconventional views of a relatively common tick-transmitted bacterial infection caused by the spirochete Borrelia burgdorferi. Therefore, it should come as no surprise that their opinions would clash with the IDSA's (...) evidence-based guidelines for the diagnosis and treatment of Lyme disease. Their allegations of conflict of interest against the IDSA resemble those made against the National Institutes of Health, the Food and Drug Administration and the Centers for Disease Control and Prevention in 2000, which were found to be baseless. It is the responsibility of all physicians and medical scientists to stand up to antiscientific, baseless and unethical attacks on those who support an evidence-based approach to caring for patients. (shrink)

The notion of form is "the most important notion within the Critique of Aesthetic Judgment". The sensible form involved in aesthetic judgment stands in no clear relation to the formal elements of the Transcendental Aesthetic and Logic—neither to the a priori forms of space and time, nor to the categories. It is held to be the same "kind of form" as the intuitable, "empirical form" mentioned infrequently in the Pure Reason. The author attempts to establish only "what Kant meant" as (...) distinct from its "truth." He lays a bold preparation for "the suggestion... that aesthetic experience is a window, so to speak, into the noumenal world". In Ch. I he accepts a widely-held view that Kant is the discoverer of "philosophical aesthetics" or "the autonomy of the aesthetic realm." His concern is not with this historical question. Nonetheless it may be said that he is not sufficiently aware that the autonomy found in Kant is not in understanding aesthetics as a realm of art, but only in understanding aesthetic judgment in its concern with both art and nature. Accordingly the aesthetic form of objects of art and objects of nature is treated without differentiation. The author is little concerned with form in its relation to natural purposiveness, or with the relation of form in the Aesthetic Judgment to form in the Teleological Judgment. Since nature, at least in certain contexts, supplies a kind of norm for art—a "traditional" element in Kant—the author’s exposition of the manner in which art imitates nature is not entirely satisfactory. In Ch. II, the central issue is whether "individual colors and tones are more than mere sensations". If however each may be understood as "a play of sensations" they can be said to possess a "form" and may enter into aesthetic judgments. The assumption here is that only if the parts of a beautiful thing, e.g., the individual colors of a painting, are beautiful, "can the painting as a whole be a beautiful thing". But this atomistic view of the aesthetic part is subsequently modified. In Ch. III, the imagination is said to "function without the categories" in the synthesis of aesthetic forms. The author must then oppose the view of Kemp Smith and others "that there can be no cognitive awareness or consciousness apart from the categories". He relies especially on the "judgments of perception" of the Prolegomena which "require no pure concept of the understanding". The possibility is not considered that although the imagination may indeed function "autonomously"—without the categories—in the synthesis of aesthetic form, that same synthesis may presuppose a synthesis employing the categories, especially in certain types of aesthetic experience. Some valuable clarifications are achieved of the difficult notions of "play," the harmony of form and cognitive faculties, and the universality of aesthetic judgments. The thesis of Ch. IV is that the object of experience, or the phenomenal object, is not a second object, distinct from the thing-in-itself, but an appearance of the thing-in-itself. Ch. V is devoted to Kant’s theory of art and especially to genius as the productive faculty of aesthetic ideas. The harmony of the faculties of imagination and understanding required of the artistic genius is held to be the same as the harmony which "the work of art itself... arouses in the perceiver of that work of art", but is spontaneous and original in the former case. What would be required of the productive agency in the case of natural objects of aesthetic experience lies outside the range of subject matter chosen. Kant’s view, although not entirely lucid, is that "the standard of fine art must be sought in the supersensible substrate of the artist’s faculties and that the production of the accord of the faculties of understanding and imagination ‘is the ultimate end set by the intelligible basis of our nature'". This prepares the conclusion that "the artist, as creative genius, is he who not only produces but expresses in sensible products, forms which are windows into the supersensible substrate of being". The monograph effectively raises this possibility as a central issue in the discussion of Kant’s aesthetics.—R. K. (shrink)

The notion of form is "the most important notion within the Critique of Aesthetic Judgment". The sensible form involved in aesthetic judgment stands in no clear relation to the formal elements of the Transcendental Aesthetic and Logic—neither to the a priori forms of space and time, nor to the categories. It is held to be the same "kind of form" as the intuitable, "empirical form" mentioned infrequently in the Pure Reason. The author attempts to establish only "what Kant meant" as (...) distinct from its "truth." He lays a bold preparation for "the suggestion... that aesthetic experience is a window, so to speak, into the noumenal world". In Ch. I he accepts a widely-held view that Kant is the discoverer of "philosophical aesthetics" or "the autonomy of the aesthetic realm." His concern is not with this historical question. Nonetheless it may be said that he is not sufficiently aware that the autonomy found in Kant is not in understanding aesthetics as a realm of art, but only in understanding aesthetic judgment in its concern with both art and nature. Accordingly the aesthetic form of objects of art and objects of nature is treated without differentiation. The author is little concerned with form in its relation to natural purposiveness, or with the relation of form in the Aesthetic Judgment to form in the Teleological Judgment. Since nature, at least in certain contexts, supplies a kind of norm for art—a "traditional" element in Kant—the author’s exposition of the manner in which art imitates nature is not entirely satisfactory. In Ch. II, the central issue is whether "individual colors and tones are more than mere sensations". If however each may be understood as "a play of sensations" they can be said to possess a "form" and may enter into aesthetic judgments. The assumption here is that only if the parts of a beautiful thing, e.g., the individual colors of a painting, are beautiful, "can the painting as a whole be a beautiful thing". But this atomistic view of the aesthetic part is subsequently modified. In Ch. III, the imagination is said to "function without the categories" in the synthesis of aesthetic forms. The author must then oppose the view of Kemp Smith and others "that there can be no cognitive awareness or consciousness apart from the categories". He relies especially on the "judgments of perception" of the Prolegomena which "require no pure concept of the understanding". The possibility is not considered that although the imagination may indeed function "autonomously"—without the categories—in the synthesis of aesthetic form, that same synthesis may presuppose a synthesis employing the categories, especially in certain types of aesthetic experience. Some valuable clarifications are achieved of the difficult notions of "play," the harmony of form and cognitive faculties, and the universality of aesthetic judgments. The thesis of Ch. IV is that the object of experience, or the phenomenal object, is not a second object, distinct from the thing-in-itself, but an appearance of the thing-in-itself. Ch. V is devoted to Kant’s theory of art and especially to genius as the productive faculty of aesthetic ideas. The harmony of the faculties of imagination and understanding required of the artistic genius is held to be the same as the harmony which "the work of art itself... arouses in the perceiver of that work of art", but is spontaneous and original in the former case. What would be required of the productive agency in the case of natural objects of aesthetic experience lies outside the range of subject matter chosen. Kant’s view, although not entirely lucid, is that "the standard of fine art must be sought in the supersensible substrate of the artist’s faculties and that the production of the accord of the faculties of understanding and imagination ‘is the ultimate end set by the intelligible basis of our nature'". This prepares the conclusion that "the artist, as creative genius, is he who not only produces but expresses in sensible products, forms which are windows into the supersensible substrate of being". The monograph effectively raises this possibility as a central issue in the discussion of Kant’s aesthetics.—R. K. (shrink)

This paper presents an integralist approach to Jaina logic. This is built around an analysis of the pivotal notion of antarvyāpti in Jaina logic. It is shown in this connection why antarvyāpti needs to be considered the ‘Core Perspective/problem’ of Jaina logic. Next, it is shown how all the salient features of Jaina logic (as viewed from its language-oriented perspective and the epistemic perspective respectively) stand intimately related to the so-called core perspective. In the remaining sections of the paper topics (...) like relationship of the core perspective i) to various non-standard systems of logic [DL, FL, NMR etc.,], ii) to the four pillars and to the eight MPC’s of Jaina philosophy, iii) to some bluntly unimaginative ways of looking at Jaina logic [e.g., Ducko-Rabbitism], iv) to the scheme of classification of propositions in Jaina logic, v) to the resulting conceptual economies related to methodology, and especially to a unified theory of Hetvābhāsa and, finally, vi) to a re-assessment of Frege-Husserl discord in the light of the significance of Jñānātmakatā vs Vākyātmakatā in Jaina logic, etc., have been discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.2 (2003) 267-268 [Access article in PDF] Myles Burnyeat. A Map of "Metaphysics" Zeta. Pittsburgh, PA: Mathesis Publications, 2001. Pp. x + 176. Paper, $25.00. Burnyeat's map is an ambitious attempt to establish two claims about Zeta: that Aristotle employs an unusual, non-linear form of argument in Zeta, and that the discussion in Zeta is on two levels, one abstract and "logical" and (...) another specific and "metaphysical." In addition to looking at Zeta, chapter by chapter, Burnyeat examines the other works that provide the context for Zeta—the Organon for the logical level of explanation and the rest of the Metaphysics for the metaphysical level. Burnyeat argues that Aristotle's metaphysical project culminates in the theology of'Lambda, for which the metaphysics of Zeta has prepared us. The goal is to "map" or sketch the evidence for these claims rather than provide definitive arguments for them.A brief introductory chapter presents the main themes of the book. This is followed by an even briefer chapter that sets out the four routes (or independent sections of Zeta), viz. Z 3; Z 4-6, 10-11 with Z 7-9, 12; Z 13-6; and Z 17 with H 1. On all four routes, a logical discussion moves to a metaphysical discussion of form and matter.The third chapter on "signposts" is the lengthiest of all and takes the reader through the chapters of Zeta in order. It is also the most map-like of the chapters, as it requires that the reader have a copy of the Metaphysics ready to hand. Burnyeat follows other commentators in treating Zeta 7-9 and Zeta 12 as later insertions; he does, however, argue that the former and probably the latter were added by Aristotle. Chapters 7-9 are integral to the argument of Zeta, as they provide a diachronic view of artifacts and substantial beings (37). [End Page 267] Rejecting the prominence assigned Z 13 by several recent commentators, Burnyeat reads Z 13 in context with chapters 14-6. "The task of Z 13-6 is to show how the idea that substantial being is a universal such as human leads eventually, after suitable refinements and restrictions, to the conclusion that substantial being is form" (54). Wrapping up the discussion of Zeta, Burnyeat concludes that the goal of Zeta's two-level approach has been to show how logical concepts should be used to search for form.This leads directly to a chapter on the Organon. Burnyeat argues that none of the treatises making up the Organon are metaphysical; all employ an abstract (logical) mode of analysis. Even if written at different times, these treatises belong together because they are all methodological. Since form and matter belong to the metaphysical level, in the Analytics Aristotle "follows a deliberate policy of excluding form and matter" (97).In the final chapter, Burnyeat returns to the Metaphysics and considers Zeta in the context of the other books. Three "chunks," viz. books ABGE, ZHQ, and MN are briefly surveyed. The topics of Zeta are then considered in relation to Lambda. Several chapters, viz. D1 and Z1; D3 and Z 7-9, are found to have the same concerns. Burnyeat concludes with a fanciful muqo~ (story) about a dying Aristotle hastily writing a culminating metaphysical treatise.Burnyeat gives us a map—a map to prompt questions; he does not attempt to delve into many of the interpretative puzzles that have exercised other interpreters of Zeta. Thus, this book stands as a helpful counterbalance to a certain kind of scholarship on Zeta. The two interpretative claims, however, that are at the heart of Burnyeat's enterprise stand in need of further justification. One of these, the non-linearity of Zeta, seems to be too weak to support substantive claims. Burnyeat defines non-linearity as holding when "it is not the case that the successive chapters build continuously upon the results of their predecessors" (4). He then cites a few examples of linearity, e.g., Physics II. Yet the vast majority of Aristotelian... (shrink)

The expressed aim of Alf Ross' study is to lay the philosophical foundations for deontic logic by explicating the concepts of directive and norm. But there is a wider significance to his task, for he makes clear throughout that the concepts of directive and norm are central to a wide variety of disciplines, including moral, legal, and social philosophy, linguistics and the other social sciences. Moreover, the test of adequacy of his explications include an appeal to the usefulness the concepts (...) have, not only to the logician, but for the moral and legal philosopher and especially in the case of his account of norms, for the social scientist. He begins with a discussion of speech acts, developing a distinction between indicative and directive speech. A "directive" is defined in terms of directive speech as an action-idea conceived as a pattern of behavior in directive speech and a variety of different sorts of directives are distinguished. A "norm" is then defined as a directive which stands in a certain kind of relation to social facts and the elements of norms are discussed. Finally, Ross offers an interpretation of deontic logic as a set of postulates defining directive speech. He discusses some of the problems of interpretation although he does not make contact with some of the more recent discussion of deontic paradoxes, e.g., the paradoxes engendered by contrary-to-duty imperatives. This is an informative and thought provoking study. The writing is very clear and the reader is guided throughout by a helpful analytical index.--R. H. K. (shrink)

As a result of the increase in genetic testing and the fear of discrimination by insurance companies, employers, and society as a result of genetic testing, the disciplines of ethics, public health, and genetics have converged. Whether relatives of someone with a positive predictive genetic test should be notified of the results and risks is a matter urgently in need of debate. Such a debate must encompass the moral and ethical obligations of the diagnosing physician and the patient. The decision (...) to inform or not will vary depending on what moral theory is used. Utilising the utilitarian and libertarian theories produces different outcomes. The principles of justice and non-maleficence will also play an important role in the decision. (shrink)

It is only when mixing two or more pure substances along a reversible path that the entropy of the mixing can be made physically manifest. It is not, in this case, a mere mathematical artifact. This mixing requires a process of successive stages. In any finite number of stages, the external manifestation of the entropy change, as a definite and measurable quantity of heat, isa fully continuous function of the relevant variables. It is only at an infinite and unattainable limit (...) thata non-uniform convergence occurs. And this occurs when considered in terms of the number of stages together with a distinguishability parameter appropriate to the particular device which is used to achieve reversibility. These considerations, which are of technological interest to chemical engineers, resolve a paradox derived in chemical theory called Gibbs'' Paradox. (shrink)

Irreversibility, it is claimed, is a much broader concept than is entropy increase, as is shown by the occurrence of certain processes which are irreversible without seeming to involve any intrinsic entropy change. These processes include the spreading outwards into space of particles, or of radiation, and they also include certain biological and mental phenomena. For instance, the irreversible and treelike branching which is characteristic of natural evolution is not entropic when it is considered in itself—i.e. in abstraction from accompanying (...) biochemical and physiological activity. What appears to be the common feature of all forms of irreversibility is the fanning out of trajectories, new entities or new states, in the temporal direction towards the future. (shrink)

In ''''A Defense of Evolutionary Ethics'''' (1986), Robert J. Richardsendeavors to explain how moral ''oughts'' can be derived from thescience of evolutionary biology without committing the dreadednaturalistic fallacy. First, Richards assumes that ''ought'' as usedin ethical discourse bears the same meaning as ''ought'' used anywherein science, indicating merely that certain results or behaviors arepredicted based on prior structured contexts. To this extent, themoral behavior of animals, what they ''ought'' to do, could arguablybe predicted by evolutionary biology as effectively as, say,molecular (...) behavior may be predicted by chemistry. But afteracknowledging that biological inferences to this limited senseof ''ought'' were never contested by Moore''s naturalistic fallacy,Richard proposes to add to evolutionary ethics a decision procedureto determine which members of a set of predicted behaviors arethose which truly ought to occur – in the genuinelyprescriptive sense intended by ethical discourse. But theprocedure which Richards fabricates for this purpose appealsto such alleged ''facts'' as cultural conventions and moral opinionpolling, hardly a secure foundation for the sort of scientific ethics promised by Richards at the outset. (shrink)

G. K. Chesterton's fictional detectives stand in stark methodical contrast to scientific detectives such as Sherlock Holmes. While the scientific detective focuses on external reality, seeking to reconstruct the crime, Chesterton's detectives—and Father Brown in particular—are preoccupied with inner perceptions, devoting their energy to understanding other minds. While Holmes may be seen as a positivist driven by the physical sciences, Chesterton's detectives are exegetes, perceiving human beings as a unique species demanding a distinctive approach. They thus reflect Chesterton's view that (...) the modes employed to decipher physical reality are inappropriate for comprehending social reality.Chesterton's opposition... (shrink)

K G Fleming; Criteria of Learning and Teaching, Journal of Philosophy of Education, Volume 14, Issue 1, 30 May 2006, Pages 39–51, https://doi.org/10.1111/j.1467.