It is well-recognized that uncertainty is an endemic feature and limitation of clinical judgment and practice that cannot be eliminated in many cases. Among the tasks of clinical ethics is the responsible management of uncertainties, first articulated in E. Haavi Morreim’s very nice concept of the "moral management of medical uncertainty." The papers in the 2012 Clinical Ethics issue of the Journal provide philosophically innovative and clinically applicable accounts of the varieties of uncertainty in clinical medicine and therefore in (...) clinical ethics: epistemic uncertainty, metaphysical uncertainty, and relational uncertainty. (shrink)

The article is devoted to the nature of the topological intuition and disclosure of the specifics of topological heuristics in the framework of philosophical theory of knowledge. As we know, intuition is a one of the support categories of the theory of knowledge, the driving force of scientific research. Great importance is mathematical intuition for the solution of non-standard problems, for which there is no algorithm for such a solution. In such cases, the mathematician addresses the so-called heuristics, built on (...) the basis of guesswork, obtained by intuition. The author substantiates the conclusion that topological intuition significantly specific compared to a traditional mathematical intuitions of Euclidean geometry. Today topology is a rapidly developing field of modern mathematics, integrates nicely with other sections of mathematical science. In its most general form of the topology can be defined as the branch of mathematics that studies the properties of spatial figures, does not change under deformations. The topological intuition is an instrument for development of topology on the basis of typological heuristics, which is the result of applying topological intuition to the objects topology. The author demonstrates in detail providing with the examples the specificity of topological heuristics and establishes its interconnection with Euclidean geometry. The author draws the conclusion about the fundamentality of topological intuition, and that it, perhaps, is primary in relation to traditionally understood mathematical intuition. (shrink)

Recent work in the ontology of music suggests that we will avoid confusion if we distinguish between two kinds of question that are typically posed in music ontology. Thus, a distinction has been made between fundamental ontology and higher-order ontology. The former addresses questions about the basic metaphysical options from which ontologists choose. For instance, are musical works types, indicated types, classes of particulars, or some other kind of entity? Higher-order ontology addresses the question of what lies ‘at the centre’ (...) of a specific form of music, such as rock or jazz—or perhaps classical music. The argument of this essay is, first, that a close examination of the best efforts in two of these territories shows that they have the effect of pressing the music in each sphere into implausible Procrustean beds. Second, it is argued that the general question that higher-order ontologies pose, that is, ‘What work-kind is it that lies at the centre of a given kind of music, F?’ is a question based on a mistaken but seductive assumption, namely that the concept of the work of F has actual application. In fact, these concepts—upon which higher-order ontology depends—are mere artefacts of philosophy. The question is also addressed why the assumption is so seductive. Finally, the question finally is posed about what, if anything, is implied from the foregoing about the traditional ontology of classical music. (shrink)

L B Daniels; Some Comments on ‘Value in Education’ by Johanna Burgess1, Journal of Philosophy of Education, Volume 8, Issue 2, 30 May 2006, Pages 237–250, https.

In lieu of an abstract, here is a brief excerpt of the content:Philosophical Adventures in the Lands of Oz and EvGareth B. Matthews (bio)Charles Dodgson, using the pen name “Lewis Carroll,” was the first author in English to write philosophical fantasy for children. In naming his first Alice book Alice’s Adventures in Wonderland,1 Lewis Carroll may have been inspired by the famous saying of Aristotle that philosophy begins in wonder. More exactly, what Aristotle said was this: “For it is owing (...) to their wonder (thaumazein) that people both now begin, and first began to philosophize (philosophein)” (Metaphysics I, 1982b12-13). Plato expresses a similar idea in his dialogue Theatetus: “This is an experience characteristic of philosophy,” Plato has Socrates say, “this wondering: this is where philosophy begins and nowhere else” (155d).A reader might suppose that the wonder Plato and Aristotle thought could stimulate us to do philosophy was a Kantian awe at “the starry heavens above me and the moral law within me.”2 But, in fact, the wonder Plato and Aristotle allude to is a surprised recognition that something we thought we understood perfectly well actually presents a challenging perplexity (aporia). So for both Plato and Aristotle, philosophy begins in the wonder at a philosophically interesting perplexity.3 And, indeed, Alice’s adventures in Wonderland are adventures in philosophical perplexity.The first American writer of philosophical fantasy for children was L. Frank Baum, author of The Wonderful Wizard of Oz4 and a number of other Oz books. For Baum philosophical fantasy took a rather different form from the fantasy of Lewis Carroll. This should hardly be surprising. After all, Carroll was a philosopher and an Oxford don whose specialty was logic. The hallmark of his fantasy is clever and thought- provoking [End Page 37] repartee, such as one might hope to hear at high table in an Oxford college. Consider this passage from chapter 7 (“A Mad Tea-Party”) of Alice in Wonderland:“Take some more tea,” the March Hare said to Alice, very earnestly.“I’ve had nothing yet,” Alice replied in an offended tone, “so I can’t take more.”“You mean you can’t take less,” said the Hatter: “it’s very easy to take more than nothing.”5As this passage helps us realize, “A has had more tea than B” is normally taken to imply that, although both A and B have had some tea, the amount that A has had is more than the amount that B has had. However, it can also be taken to mean simply that the amount A has had is more than the amount B has had, even where, in the case of B, that amount is zero. Or consider this exchange from chapter 6 (“Humpty-Dumpty”) of Through the Looking-Glass:“I don’t know what you mean by ‘glory,’” Alice said.Humpty Dumpty smiled contemptuously, “Of course you don’t—till I tell you.I meant ‘There’s a nice knock-down argument for you!’”“But ‘glory’ doesn’t mean ‘a nice knock-down argument,’” Alice objected.“When I use a word,” Humpty Dumpty said, in rather a scornful tone,“it means just what I choose it to mean—neither more nor less.”“The question is,” said Alice, “whether you can make words mean so many different things.”“The question is,” said Humpty Dumpty, “which is to be master—that’s all.”6This characteristically clever and amusing exchange forces readers to make a distinction between lexical meaning and speaker meaning. Of course the word “glory” does not mean “there’s a nice knock-down argument for you,” but what a speaker might mean to communicate by using the word “glory” is another issue. Moreover, the relationship between lexical meaning and speaker meaning is a very interesting issue in linguistics and the philosophy of language.Nothing like this clever repartee is to be found in the Oz books. Nor should that fact be very surprising. Frank Baum never took a philosophy course; he never even went to college. He was a theater producer and journalist. Yet, despite this lack of academic background, perhaps the most striking feature7 of Baum’s writing—something almost universally ignored in the scholarly literature on Baum... (shrink)

In "But Is It Art?", B. R. Tilghman argues in effect that art's necessary paracriticism on other areas of human activity and interest follows from the condition that artistic and aesthetic perceptions are matters of experiencing aspects. However, aspect-seeing is so common in many avenues of human endeavor that it fails to justify a special artistic paracriticism. The realm of art has a language which must be understood in its own right, as is the case for any social realm which (...) dominates a portion of language as a whole. (shrink)

Heidegger''s conception of death as an attitude toward life, overlooked in current literature on death and dying, offers potential for deepening our understanding of the care of non-critically ill patients. By breaking away from the notion of death as an event distinct from life and viewing it as an anticipated possibility at every moment of life, Heidegger provides insight into our attempts to evade death through our fundamental attitudes and value commitments, which in turn determine our behavior and actions. When (...) combined with a method of application — the Nietzschean principle of reversal — these insights permit the understanding of diverse types of human mentality confronted with significant situations. Among the most important applications of these conceptions is to persons in need of medical care, and the resultant types, which are sampled as hypothetical cases, carry important implications for the sensitive care and psychosocial management of non-terminally ill patients. (shrink)

Any comprehensive theory of narrative must accommodate both the justificational and the creative elements of narrative, the activities leading to narrative, and reflections upon the finished product. This examination of four levels of theory reveals the incompleteness of most extant theories, including those of Hayden White and Ricoeur. The four levels are: 1. narrative discourse and temporal language; 2. narrative and historical constructions; 3. narrative objects or stories; and 4. narrative functions and purposes. We remain far from our goal of (...) achieving a comprehensive theory. However, by placing theories and partial theories within a metatheoretical framework, we can see more clearly their nature, ramifications, and limits, thereby differentiating between the contributions and the philosophical fads. (shrink)

An enormous amount of philosophical literature gets published nowadays. Some of it is good; some is fit only for pulping. We get into the habit not so much of reading as of glancing through the torrent that pours down on us. But sometimes special conditions arise. It so happened that I was forced to spend about a month in the hospital. I took with me the book Evolutionary Epistemology and the Logic of the Social Sciences: K. Popper and His Critics (...) [Evoliutsionnaia epistemologiia i logika sotsial'nykh nauk. K. Popper i ego kritiki] . I attentively read it through and without any irony I can say that I felt "legitimate pride and deep satisfaction." Legitimate pride for philosophy and deep satisfaction with the content of the book. And although readers of Problems of Philosophy [Voprosy filosofii] have already had the opportunity of reading a review of this book , I would like to return to it and make in passing a number of points about Popper's philosophy in general. (shrink)

It is argued that ideas and theories often evolve into preconceptions of our perceptions. Such evolution is implicit in Heidegger's notion of truths of alethia. The description of this process holds implications for the traditional givenness of humans for themselves in terms of the changabllity of absolute presuppositions. Among the implications are 1. the insufficiency of the historical mode for explaining changes in human self-perception; 2. the inadequacy of radical subjectivism and environmentalism; 3. a radical contingency and complexity to the (...) course of human conceptualization; and 4. the awareness that human efforts can influence alterations in preconceptions. The influence of modern brain theory is subject to these conditions. (shrink)