Higher education is starting to embrace its role in promoting student wellbeing and life skills, especially given the concerning levels of poor mental health and uncertainties in the future job market. Yet, many of the published studies evaluating positive educational teaching methods thus far are limited to interventions delivered to small student cohorts and/or imbedded within elective wellbeing courses, and are focussed on developed Western countries. This study addressed this gap by investigating the effectiveness of an institution-wide compulsory course informed (...) by the principles of Seligman’s Wellbeing Theory. The course was delivered at a British university in a developing country in Southeast Asia. It purposefully sought to nurture growth-oriented outcomes and was taken by an entire cohort of year one undergraduate students. We tested the effectiveness of the curriculum content and staff coaching style in achieving life skills, and evaluated how these perceptions influenced students’ subjective wellbeing. A convergent mixed-methods design was used with 350 survey respondents and 11 interviewees. Perceived life skills scores showed a 2.5% improvement at the end of the course. Partial Least Squares Structural Equation Modelling tested the predicted relationships between variables. All relationships were statistically significant, but the influence of course design and educators’ style on life skills acquisition was moderate, while the effect on subjective happiness and life satisfaction was very weak. Qualitative data indicated that while quantifiable benefits to wellbeing might not be immediate, students did anticipate longer-term benefits for happiness and life satisfaction. This finding suggests that such a novel educational approach is well-received by Asian students and may sow the seeds for future benefit by positively impacting on their skills, behaviours, attitudes, and values. To achieve optimal flourishing at university, we recommend exploring teaching practises that combine positive education with coaching psychology practises. (shrink)

'A wonderfully assured and utterly riveting biography that captures not only the much-maligned Machiavelli, but also the spirit of his time and place. A monumental achievement.' - Jessie Childs, author of God's Traitors. 'A notorious fiend', 'generally odious', 'he seems hideous, and so he is.' Thanks to the invidious reputation of his most famous work, The Prince, Niccolò Machiavelli exerts a unique hold over the popular imagination. But was Machiavelli as sinister as he is often thought to be? Might he (...) not have been an infinitely more sympathetic figure, prone to political missteps, professional failures and personal dramas? Alexander Lee reveals the man behind the myth, following him from cradle to grave, from his father's penury and the abuse he suffered at a teacher's hands, to his marriage and his many affairs (with both men and women), to his political triumphs and, ultimately, his fall from grace and exile. In doing so, Lee uncovers hitherto unobserved connections between Machiavelli's life and thought. He also reveals the world through which Machiavelli moved: from the great halls of Renaissance Florence to the court of the Borgia pope, Alexander VI, from the dungeons of the Stinche prison to the Rucellai gardens, where he would begin work on some of his last great works. As much a portrait of an age as of a uniquely engaging man, Lee's gripping and definitive biography takes the reader into Machiavelli's world - and his work - more completely than ever before. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

Bringing Pierre Bourdieu to Science and Technology Studies Content Type Journal Article Pages 263-273 DOI 10.1007/s11024-011-9174-2 Authors Mathieu Albert, Wilson Centre and Department of Psychiatry, Faculty of Medicine, University of Toronto, 200 Elizabeth Street , Eaton-South 1-581, Toronto, ON M5G 2C4, Canada Daniel Lee Kleinman, Department of Community and Environmental Sociology, University of Wisconsin-Madison, 348 Agricultural Hall 1450 Linden Drive, Madison, WI 53706, USA Journal Minerva Online ISSN 1573-1871 Print ISSN 0026-4695 Journal Volume Volume 49 Journal Issue Volume 49, (...) Number 3. (shrink)

In the wake of much previous work on Gilles Deleuze's relations to other thinkers (including Bergson, Spinoza and Leibniz), his relation to Kant is now of great and active interest and a thriving area of research. In the context of the wider debate between 'naturalism' and 'transcendental philosophy', the implicit dispute between Deleuze's 'transcendental empiricism' and Kant's 'transcendental idealism' is of prime philosophical concern. -/- Bringing together the work of international experts from both Deleuze scholarship and Kant scholarship, Thinking Between (...) Deleuze and Kant addresses explicitly the varied and various connections between these two great European philosophers, providing key material for understanding the central philosophical problems in the wider 'naturalism/ transcendental philosophy' debate. The book reflects an area of great current interest in Deleuze Studies and initiates an ongoing interest in Deleuze within Kant scholarship. The contributors are Mick Bowles, Levi R. Bryant, Patricia Farrell, Christian Kerslake, Matt Lee, Michael J. Olson, Henry Somers-Hall and Edward Willatt. (shrink)

Alexander W. Hall - Demonstration and Scientific Knowledge in William of Ockham: A Translation of Summa Logicae III-II: De Syllogismo Demonstrativo, and Selections from the Prologue to the Ordinatio - Journal of the History of Philosophy 46:1 Journal of the History of Philosophy 46.1 170-172 Muse Search Journals This Journal Contents Reviewed by Alexander W. Hall Clayton State University John Lee Longeway, translator. Demonstration and Scientific Knowledge in William of Ockham: A Translation of Summa Logicae III–II: De Syllogismo (...) Demonstrativo, and Selections from the Prologue to the Ordinatio. Notre Dame, IN: University of Notre Dame Press, 2007. Pp. xx + 432. Cloth, $58.00. William of Ockham never delivered his promised exposition of Posterior Analytics. In its place, we have Summa Logicae III–II, and the Prologue to his Ordinatio... (shrink)

Many argue that transgenic technology will have wide-ranging implications for farmers in developing nations. A key concern is that competencies may be destroyed by predominantly foreign multinational transgenic technologies, exacerbating problems of social exclusion in the case of subsistence farmers. Conversely, those that fail to adopt the technology may become uncompetitive, particularly in commodity-based export markets. Drawing on interview data conducted in Brazil and supporting data collected in North America, Europe and China, we found that the impact of transgenic technology (...) varies. It has less impact on farmers that adapt the products to their crop systems and environment, and greater negative implications for less formally educated subsistence farmers in consequence of both complexity and compatibility. Earlier attempts at industrializing agriculture through technological innovation led to vastly improved agricultural output and exports, but the benefits of productivity was not equitably distributed [D. Lee: 2005, American Journal of Agricultural Economics 87, 1325-1334], nor was it designed to meet specific local environmental and socioeconomic farmer conditions, exacerbating social exclusion. Multinationals attempting to introduce transgenic technology without considering the broader social and ethical implications will invite resistance. We discuss the implications for policy makers, multinationals and small-scale farmers. (shrink)

While Woody Allen is generally considered to be a master of the comic genre he created, his serious films are very important in understanding his role as one of this generation's more influential filmmakers. In this work such Allen films as Annie Hall (1977), Broadway Danny Rose (1984), Crimes and Misdemeanors (1989) and Mighty Aphrodite (1995) are analyzed for the common philosophical themes they share. Gender issues, Allen's love-hate relationship with God, narcissism and moral relativism, and the use of (...) the so-called existential dilemma are among the topics discussed. The extensive research is augmented with a rare interview with Allen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

I will take David Hall and Roger Ames’s idea of “field and focus”—each unique individual is a unique focus in the communal field—as a central theme of the East Asian way of dealing with the relationship between the community and its constituent members. The pairing of these two concepts suggests the essential mutuality of the communal involvement of every person and the “insistent particularity” of each person. The worth of each individual becomes manifest only if the “egocentered” self yields (...) to the “selfless” self. An East Asian sense of justice thereby acquires the sense of attention to each unique focus (particular individual) in the field (community). Liberty and human rights are thus ineluctably bound up with a sense of communal responsibility. (shrink)

Marc Stears’ Out of the Ordinary: How Everyday Life Inspired a Nation and How It Can Again is an engaging and sincere work of political theory. In it, Stears explores how the work of a number of British writers and artists in the 1930s, 1940s and 1950s – Bill Brandt, Barbara Jones, Laurie Lee, George Orwell, JB Priestley and Dylan Thomas – can help us to overcome some of the lazy ideological conventions of our time which suggest it is impossible (...) to simultaneously value tradition and progress, patriotism and diversity, individual rights and social duties, nationalism and internationalism, conservativism and radicalism. In this review, I highlight the timely and engaging elements of Stears’ book while also raising doubts about his treatment of the ‘everyday’ and his Blue Labour solutions to our political ills. (shrink)

Marc Stears’ Out of the Ordinary: How Everyday Life Inspired a Nation and How It Can Again is an engaging and sincere work of political theory. In it, Stears explores how the work of a number of British writers and artists in the 1930s, 1940s and 1950s – Bill Brandt, Barbara Jones, Laurie Lee, George Orwell, JB Priestley and Dylan Thomas – can help us to overcome some of the lazy ideological conventions of our time which suggest it is impossible (...) to simultaneously value tradition and progress, patriotism and diversity, individual rights and social duties, nationalism and internationalism, conservativism and radicalism. In this review, I highlight the timely and engaging elements of Stears’ book while also raising doubts about his treatment of the ‘everyday’ and his Blue Labour solutions to our political ills. (shrink)

This paper provides an exposition of the structuralist approach to underdetermination, which aims to resolve the underdetermination of theories by identifying their common theoretical structure. Applications of the structuralist approach can be found in many areas of philosophy. I present a schema of the structuralist approach, which conceptually unifies such applications in different subject matters. It is argued that two classic arguments in the literature, Paul Benacerraf’s argument on natural numbers and W. V. O. Quine’s argument for the indeterminacy of (...) translation, can be analyzed as instances of the structuralist schema. These two applications illustrate different kinds of conclusions that can be drawn through the structuralist approach; Benacerraf’s argument shows that we can derive an ontological conclusion about the given subject matter, while Quine’s structuralist approach leads to a semantic conclusion about how to determine linguistic meanings given radical translation. Then, as a case study, I review a recent debate in metaphysics between Shamik Dasgupta, Jason Turner, and Catharine Diehl to consider the extent to which different instances of the structuralist schema are conceptually unified. Both sides of the debate can be interpreted as utilizing the structuralist approach; one side uses the structuralist approach for an ontological conclusion, while the other side relies on a semantic conclusion. I argue that this has a strong dialectical consequence, which sheds light on the conceptual unity of the structuralist approach. (shrink)

This paper propounds a new reading of Berkeley's account of the activity of finite spirits. Against existing interpretations, the paper argues that Berkeley does not hold that we causally contribute to the movement of our bodies. In contrast, our volitions to move our bodies are but occasions for God to cause their movement. In answer to the question of wherein then consists our activity, the paper proposes that our activity consists in the dual powers to produce (1) our volitions ? (...) the acts of willing ? and (2) our ideas of imagination. (shrink)

This paper analyzes the nature of the Star Maker in Olaf Stapledon’s Star Maker, as well as Stapledon’s exploration of the theological problem of evil, as compared with philosophical conceptions of God and their respective theodicies in the tradition of classical theism, as propounded by philosophers such as Aristotle, Plotinus, Augustine, Maimonides, Aquinas, and Avicenna. It argues that Stapledon’s philosophical divergence from classical theism entails that the Star Maker of the novel is more demiurge than true divinity, and that this (...) divergence is integral to the basically amoral character of the Star Maker, as well as the purely aesthetic resolution of the problem of evil articulated in Star Maker. This analysis, in turn, will hopefully bear on future studies touching on the trope of quasi-divinities, evolved and contingent gods, present in the work of other SF authors. (shrink)

The emergence of private authority has become a feature of the post-Cold War world. The contributors to this volume examine the implications of this erosion of the power of the state for global governance. They analyse actors as diverse as financial institutions, multinational corporations, religious terrorists and organised criminals. The themes of the book relate directly to debates concerning globalization and the role of international law, and will be of interest to scholars and students of international relations, politics, sociology and (...) law. (shrink)

Causation is a deeply intuitive and familiar relation, gripped powerfully by common sense. Or so it seems. As is typical in philosophy, however, that deep intuitive familiarity has not led to any philosophical account of causation that is at once clean, precise, and widely agreed upon. Not for lack of trying: the last thirty years or so have seen dozens of attempts to provide such an account, and the pace of development is, if anything, accelerating. (See Collins et al. [2003a] (...) for a comprehensive sampling of the latest work.). (shrink)

Is a human more conscious than an octopus? In the science of consciousness, it’s oftentimes assumed that some creatures (or mental states) are more conscious than others. But in recent years, a number of philosophers have argued that the notion of degrees of consciousness is conceptually confused. This paper (1) argues that the most prominent objections to degrees of consciousness are unsustainable, (2) examines the semantics of ‘more conscious than’ expressions, (3) develops an analysis of what it is for a (...) degreed property to count as degrees of consciousness, and (4) applies the analysis to various theories of consciousness. I argue that whether consciousness comes in degrees ultimately depends on which theory of consciousness turns out to be correct. But I also argue that most theories of consciousness entail that consciousness comes in degrees. (shrink)

Tao has been built into the foundation of East Asian culture for millennia, and many books have been written to explain it. But Tao cannot fully be explained in words; it can only felt and experienced. Tao is something you live, day by day, moment by moment. Its the omnipresent oneness beyond ephemeral phenomena that expresses itself in everything.

The papers collected in the present volume arose from a 2009 seminar organized by the Society of Legal Scholars and the University of Birmingham, and convened at the Law Society’s Hall in Bristol, England. The seminar, “Judges and Jurists: Reflections on the House of Lords,” commemorated the centenary of the Society; and it chiefly focused on the transition from the House of Lords, as the U.K.’s court of final appeals, to the prospects of the newly instituted United Kingdom Supreme (...) Court. “The aim of the volume,” according to the book-jacket description, “is to reflect upon the jurisprudence of the House of Lords and to consider the prospects for judging in the new Supreme Court.” Given the aims of the Society of Legal Scholars, considerable focus is placed on the relationship between the work of judges and that of scholars of law and jurisprudence. The book pervasively highlights the continuing voice of the scholars. Though their writings have no legal authority, the volume’s editor remarks in his Introduction that in 2009, “in six out of the seven final decisions of the House, reference was made to academic literature” (p. 2). (shrink)

In this article, I present a two-pronged argument for the immorality of contemporary, asymmetric drone warfare, based on my new interpretations of the just war principles of “proportionality” and “moral equivalence of combatants” (MEC). The justification for these new interpretations is that drone warfare continues to this day, having survived despite arguments against it that are based on traditional interpretations of just war theory (including one from Michael Walzer). On the basis of my argument, I echo Harry Van der Linden’s (...) call for “an international treaty banning all weaponized UAV [uninhabited aerial vehicles].”. (shrink)

This paper examines the idea of "objective phenomenology," or a way of understanding the phenomenal character of conscious experiences that doesn’t require one to have had the kinds of experiences under consideration. My central thesis is that structural facts about experience—facts that characterize purely how conscious experiences are structured—are objective phenomenal facts. I begin by precisifying the idea of objective phenomenology and diagnosing what makes any given phenomenal fact subjective. Then I defend the view that structural facts about experience are (...) objective. I also argue that structural facts about experience, despite being objective, nevertheless still give rise to an explanatory gap. (shrink)

Bartky draws on the experience of daily life to unmask the many disguises by which intimations of inferiority are visited upon women. She critiques both the male bias of current theory and the debilitating dominion held by notions of "proper femininity" over women and their bodies in patriarchal culture.

Totalitarianism is perhaps unanimously regarded as one of the greatest political evils of the last century and has been the grounds for much of Anglo-American political theory since. Confucianism, meanwhile, has been gaining credibility in the past decades among sympathizers of democratic theory in spite of criticisms of it being anti-democratic or authoritarian. I consider how certain key concepts in the classical Confucian texts of the Mencius and the Xunzi might or might not be appropriated for ‘legitimising’ totalitarian regimes. Under (...) an Arendtian approach to understanding totalitarianism, it is precisely an unproblematised relation to a normative History and Nature that underlies the potential compatibility or incompatibility. I argue against a longstanding prejudice that if any form of Confucianism would be totalitarian, it would have to be Xunzian. Against this, I hope to show that if any form of Confucianism would be totalitarian, it might well be a naturalistic Mencian Confucianism instead of a constructivist Xunzian one. (shrink)

In this chapter, I will offer a strategic new interpretation of Hannah Arendt's conception of forgiveness. In brief, I propose understanding Arendt as suggesting—not that evil is objectively banal, or a mere failure of imagination—but instead that it is maximally forgiveness-facilitating to understand the seemingly unforgivable as merely a failure of imagination. In other words, we must so expand our imaginative powers (what Arendt terms “enlarged mentality”) by creatively imagining others as merely insufficiently unimaginative, all in order to reimagine them (...) as beings whom we are willing and able to forgive. It is in this sense that I understand forgiveness for Arendt as a kind of “magic.” That is, forgiveness involves the imaginatively-funded creation of a new reality by merely naming it, like the phenomenon of “magic thinking,” wherein one believes one’s thoughts or speech are immediately realized in the world. The magic of forgiveness, in other words, is an incantation or performative speech act, based on the forgiver’s choice to “make believe,” or pretend-into-being, that the forgiven person is forgivable qua thoughtless. (shrink)

A staff photographer for the Ketchikan Daily News, Hall Anderson counted among his early influences photographers like Robert Frank and Henri Cartier-Bresson, who understood the visual bounty to be found in photographing the candid side of life. For more than twenty-five years, Anderson has brought this perspective to his photographic endeavors, both personal and professional, in the small town of Ketchikan in southeast Alaska. Still Rainin' Still Dreamin' showcases one hundred of Anderson's prize-winning black-and-white images, which collectively chronicle three (...) decades of life in Ketchikan, spanning its transition from a timber- and fishing-based economy to one built on a booming tourism industry. From timber carnivals to election coverage to Fourth of July parades, Still Rainin' Still Dreamin' is a poignant celebration of the uncanny juxtapositions found in everyday life. (shrink)

To address the rising concern that algorithmic decision-making may reinforce discriminatory biases, researchers have proposed many notions of fairness and corresponding mathematical formalizations. Each of these notions is often presented as a one-size-fits-all, absolute condition; however, in reality, the practical and ethical trade-offs are unavoidable and more complex. We introduce a new approach that considers fairness—not as a binary, absolute mathematical condition—but rather, as a relational notion in comparison to alternative decision-making processes. Using U.S. mortgage lending as an example use (...) case, we discuss the ethical foundations of each definition of fairness and demonstrate that our proposed methodology more closely captures the ethical trade-offs of the decision-maker. (shrink)

I ARGUE THAT SPINOZA’S DEVELOPMENT OF THE CONCEPT OF ’CONATION’ IS A CONSISTENT ANALYSIS BASED UPON HIS CLAIM THAT TELEOLOGICAL OR FUNCTIONAL EXPLANATION IS EITHER REDUCIBLE TO CAUSAL EXPLANATION (IN TERMS OF DRIVES) OR IS NOT GENUINELY EXPLANATORY. SEVERAL IMPORTANT CONSEQUENCES OF THIS FOR SPINOZA’S ACCOUNT OF HUMAN APPETITION ARE PURSUED, AND SOME CONSEQUENCES FOR HIS POLITICAL THEORY ARE MENTIONED IN CLOSING.