The obligation to provide reasons may appear rather a simple and straightforward, but in actual practice—as the mutually antagonistic Weiss rulings of the CJEU and the German Bundesverfassungsgericht amply demonstrate—is fraught with constitutional complication. On the one side, there lies the concern with a deeply intrusive form of judicial review which substitutes judicially determined “good” reasons for those of the reviewee decisionmaker—legislatures, administrative agencies, or, as in Weiss, the European Central Bank. On the other side lies the concern with judicial (...) abdication in the face of technical expertise, uncertainty and complexity, turning the reason-giving requirement into a mere façade thereby placing democratic accountability in the modern administrative state beyond law’s remit. Either way, normatively and conceptually, we seem left with a half-way house only. Drawing on the recent US administrative law discourse—the neo-Fullerian concept of an “internal morality of law” and democratic experimentalism —this paper explores the concept of process review as tertium datur. Process review responds to concerns over the rule of law and administrative discretion through indirect, procedural safeguards, by imposing requirements of reasoned justification, rather than through wholesale invalidation or aggressive substantive review. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

What is morality? How many moral values are there? And what are they? According to the theory of morality-as-cooperation, morality is a collection of biological and cultural solutions to the problems of cooperation recurrent in human social life. This theory predicts that there will be as many different types of morality as there are different types of cooperation. Previous research, drawing on evolutionary game theory, has identified at least seven different types of cooperation, and used them to explain seven different (...) types of morality: family values, group loyalty, reciprocity, heroism, deference, fairness and property rights. Here we explore the conjecture that these simple moral ‘elements’ combine to form a much larger number of more complex moral ‘molecules’, and that as such morality is a combinatorial system. For each combination of two elements, we hypothesise a candidate moral molecule, and successfully locate an example of it in the professional and popular literature. These molecules include: fraternity, blood revenge, family pride, filial piety, gavelkind, primogeniture, friendship, patriotism, tribute, diplomacy, common ownership, honour, confession, turn taking, restitution, modesty, mercy, munificence, arbitration, mendicancy, and queuing. These findings indicate that morality – like many other physical, biological, psychological and cultural systems – is indeed a combinatorial system. Thus morality-as-cooperation provides a principled and powerful theory, that explains why there are many moral values, and successfully predicts what they will be; and it generates a systematic framework that has the potential to explain all moral ideas, possible and actual. Pursuing the many implications of this theory will help to place the study of morality on a more secure scientific footing. (shrink)

Explainable artificial intelligence (XAI) seeks to produce explanations for those machine learning methods which are deemed opaque. However, there is considerable disagreement about what this means and how to achieve it. Authors disagree on what should be explained (topic), to whom something should be explained (stakeholder), how something should be explained (instrument), and why something should be explained (goal). In this paper, I employ insights from means-end epistemology to structure the field. According to means-end epistemology, different means ought to be (...) rationally adopted to achieve different epistemic ends. Applied to XAI, different topics, stakeholders, and goals thus require different instruments. I call this the means-end account of XAI. The means-end account has a descriptive and a normative component: on the one hand, I show how the specific means-end relations give rise to a taxonomy of existing contributions to the field of XAI; on the other hand, I argue that the suitability of XAI methods can be assessed by analyzing whether they are prescribed by a given topic, stakeholder, and goal. (shrink)

English has plural terms as well as singular terms. But our standard formal languages, e.g., the predicate calculus, feature only singular terms. How can the plural idiom be formalized?‘Changing the subject’ is by far the most common plurals strategy among both philosophers and linguists: a plural term is replaced by a singular term standing for some complex object that ‘contains’ the individuals to which the plural term alludes. For example, one might simply replace ‘A, B imply C’ with ‘{A, B} (...) implies [singular] C’. We uncover a surprising variety of ways to change the subject, of ever‐increasing complexity and ingenuity. Our question is whether any can made to work. (shrink)

Substantivalists believe that spacetime and its parts are fundamental constituents of reality. Relationalists deny this, claiming that spacetime enjoys only a derivative existence. I begin by describing how the Galilean symmetries of Newtonian physics tell against both Newton's brand of substantivalism and the most obvious relationalist alternative. I then review the obvious substantivalist response to the problem, which is to ditch substantival space for substantival spacetime. The resulting position has many affinities with what are arguably the most natural interpretations of (...) special and general relativity. I move on to consider and reject two recent antisubstantivalist lines of thought. The interim conclusion is that the best argument for relationalism is an appeal to Ockham's razor. However, for this to be successful there must be genuine relationalist theories that share the theoretical virtues of their substantivalist rivals but without the additional ontological commitment. The bulk of the paper is therefore an investigation of various concrete relationalist proposals. I distinguish three options for the relationalist in the face of the success of Galilean invariant physics and trace how these generalise to relativistic physics. One of the options is particularly promising but, since its basic objects end up being spacetime points, this does not help the prospects of relationalism as traditionally conceived. I end with some reflections on the fate of substantivalism in the aftermath of the Hole Argument, concluding that we have as yet to be given good reasons to abandon the natural, substantivalist interpretation of current physics. (shrink)

Immanuel Kant is often considered to be the source of the contemporary idea of human dignity, but his conception of human dignity and its relation to human value and to the requirement to respect others have not been widely understood. Kant on Human Dignity offers the first in-depth study in English of this subject. Based on a comprehensive analysis of all the passages in which Kant uses the term ;dignity, as well as an analysis of the most prominent arguments for (...) a value of human beings in the Kant literature, the book carefully examines different ways of construing the relationship between dignity, value and respect for others. It takes seriously Kant s Copernican Revolution in moral philosophy: Kant argues that moral imperatives cannot be based on any values without yielding heteronomy. Instead it is imperatives of reason that determine what is valuable. The requirement to respect all human beings is one such imperative. Respect for human beings does not follow from human dignity for this would violate autonomy but is an unconditional command of reason. Following this train of thought yields a unified account of Kant s moral philosophy. (shrink)

Cooperation requires that individuals are able to identify, and preferentially associate with, others who have compatible preferences and the shared background knowledge needed to solve interpersonal coordination problems. The present study investigates the nature of such similarity within social networks, asking: What do friends have in common? And what is the relationship between similarity and altruism? The results show that similarity declines with frequency of contact; similarity in general is a significant predictor of altruism and emotional closeness; and, specifically, sharing (...) a sense of humor, hobbies and interests, moral beliefs, and being from the same area are the best predictors. These results shed light on the structure of relationships within networks and provide a possible checklist for predicting attitudes toward strangers, and in-group identification. (shrink)

Philosophy in the English-speaking world is dominated by analytic approaches to its problems and projects; but theology has been dominated by alternative approaches. Many would say that the current state in theology is not mere historical accident, but is, rather, how things ought to be. On the other hand, many others would say precisely the opposite: that theology as a discipline has been beguiled and taken captive by 'continental' approaches, and that the effects on the discipline have been largely deleterious. (...) The methodological divide between systematic theologians and analytic philosophers of religion is ripe for exploration. The present volume represents an attempt to begin a much-needed interdisciplinary conversation about the value of analytic philosophical approaches to theological topics. Most of the essays herein are sympathetic toward the enterprise the editors are calling analytic theology; but, with an eye toward balance, the volume also includes essays and an introduction that try to offer more critical perspectives on analytic theology. (shrink)

Generative AI has gained a lot of attention in society, business, and science. This trend has increased since 2018, and the big breakthrough came in 2022. In particular, AI-based text and image generators are now widely used. This raises a variety of ethical issues. The present paper first gives an introduction to generative AI and then to applied ethics in this context. Three specific image generators are presented: DALL-E 2, Stable Diffusion, and Midjourney. The author goes into technical details and (...) basic principles, and compares their similarities and differences. This is followed by an ethical discussion. The paper addresses not only risks, but opportunities for generative AI. A summary with an outlook rounds off the article. (shrink)

Kit Fine’s arguments in Essence and Modality are widely accepted as being a decisive blow against modal essentialism. A selection of replies exist that have done little to counter the general view that modally construed essence is out of touch with what we really mean when we make essentialist claims. I argue that Fine’s arguments fail to strike a decisive blow, and I suggest a new interpretation of the debate that shows why Fine’s arguments fall short of achieving their goal.

PurposeThe purpose of this paper is to add one further value to the previously articulated “universal values” and to describe the constituent components of three universal values.Design/methodology/approachThis interpretive/constructivist study of Australia's largest online community of seniors involved a 30‐month ethnographic investigation. After an initial period of 11 months of observing social interaction on the entire site, in‐depth, semi‐structured interviews were conducted with 30 participants, selected according to criterion sampling, a form of purposive sampling.FindingsFour key moral values were identified: equality, freedom, (...) respect and trust. All of them had been found in other studies, with equality and respect (as human dignity) identified as universal values. The findings from this study suggest that freedom is another universal value.Originality/valueThis study extends the understanding of universal values to include freedom. Further, it demonstrates the constituent components for freedom, and those of two other universal values previously identified in the literature, equality and human dignity, as well as revealing linkages between these three values. (shrink)

Este artigo apresenta uma tradução da hermenêutica sobre a unicidade de Deus de um capítulo (sura) do Alcorão, de acordo com o pensamento de Avicena (Ibn Sῑnā). É o capítulo denominado capítulo do Monoteísmo, cujo número é 112 no Alcorão. Antes, porém, há uma introdução sobre o que representou o Alcorão nos primórdios do Islã e a sua influência no desenvolvimento da filosofia e da teologia em terras do Islã. Nesse texto, pode ser constatado que, na doutrina islâmica, o primeiro (...) fundamento e o mais rigoroso é a unicidade de Deus. É sobre isso que este artigo discorre. This paper presents a translation of the hermeneutics of the oneness of God from chapter (sura) 112 of the Qur'an (the Chapter on Monotheism), according to the thought of Avicenna (Ibn Sῑnā). First, however, there is an introduction which presents the Qur'an in the early days of Islam, as well as its influence on the development of philosophy and theology in Islamic lands. It may be noted in this text that the first and most rigorous foundation is Islamic doctrine is the oneness of God. (shrink)

Este artigo apresenta uma tradução da hermenêutica sobre a unicidade de Deus de um capítulo (sura) do Alcorão, de acordo com o pensamento de Avicena (Ibn Sina). É o capítulo denominado capítulo do Monoteísmo, cujo número é 112 no Alcorão. Antes, porém, há uma introdução sobre o que representou o Alcorão nos primórdios do Islã e a sua influência no desenvolvimento da filosofia e da teologia em terras do Islã. Nesse texto, pode ser constatado que, na doutrina islâmica, o primeiro (...) fundamento e o mais rigoroso é a unicidade de Deus. É sobre isso que este artigo discorre. (shrink)

Este artigo apresenta uma comparação conceitual entre a obra De anima, de Aristóteles, e a concepção das faculdades da alma no Kitáb al-Nafs – edição árabe – (Livro da Alma, De anima), de Ibn Sina (Avicena), com o intuito de mostrar similitudes e in#uências de Aristóteles sobre o pensamento de Ibn Sina, nessa temática. Destaca, ainda, como e a época em que o estagirita foi recebido em terras do Islã, indicando o seu primeiro receptor, o &lósofo Al-Kindi, assim como, de (...) modo pormenorizado, uma comparação sobre a de&nição de alma dada pelos dois &lósofos, e as três espécies de alma, com ênfase para o conceito de alma racional. Apresenta, também, a estrutura de cada uma das obras. (shrink)

This paper reviews the hole argument as an argument against spacetime substantivalism. After a careful presentation of the argument itself, I critically review possible responses.

A systematic treatment of Hume's conception of imagination in all the main topics of his philosophy.

This paper uses a schema for infinite regress arguments to provide a solution to the problem of the infinite regress of justification. The solution turns on the falsity of two claims: that a belief is justified only if some belief is a reason for it, and that the reason relation is transitive.

In his paper ``What is Structural Realism?'' James Ladyman drew a distinction between epistemological structural realism and metaphysical (or ontic) structural realism. He also drew a suggestive analogy between the perennial debate between substantivalist and relationalist interpretations of spacetime on the one hand, and the debate about whether quantum mechanics treats identical particles as individuals or as `non-individuals' on the other. In both cases, Ladyman's suggestion is that an ontic structural realist interpretation of the physics might be just what is (...) needed to overcome the stalemate. The main thesis of this paper is that, whatever the interpretative difficulties of generally covariant spacetime physics are, they do not support or suggest structural realism. In particular, I hope to show that there is in fact no analogy that supports a similar interpretation of the metaphysics of spacetime points and of quantum particles. (shrink)

Is the objective passage of time compatible with relativistic physics? There are two easy routes to an affirmative answer: (1) provide a deflationary analysis of passage compatible with the block universe, or (2) argue that a privileged global present is compatible with relativity. (1) does not take passage seriously. (2) does not take relativity seriously. This paper is concerned with the viability of views that seek to take both passage and relativity seriously. The investigation proceeds by considering how traditional A-theoretic (...) conceptions of passage might be generalized to relativistic space-times without incorporating a privileged global present. I argue that the most promising position marries the idea that open possibilities for the future are settled as time passes with a ‘non-standard’ interpretation of the relevant formal models. (shrink)

The third edition of this popular book has been updated to take account of the latest developments in policy and social work practice. It includes new sections on radical/emancipatory and postmodern approaches to ethics, analysis of the latest codes of ethics from over 30 different countries, additional case studies of ethical problems and dilemmas, practical exercises, and annotated further reading lists at the end of each chapter.

The synthetization of voices, or speech synthesis, has been an object of interest for centuries. It is mostly realized with a text-to-speech system, an automaton that interprets and reads aloud. This system refers to text available for instance on a website or in a book, or entered via popup menu on the website. Today, just a few minutes of samples are enough to be able to imitate a speaker convincingly in all kinds of statements. This article abstracts from actual products (...) and actual technological realization. Rather, after a short historical outline of the synthetization of voices, exemplary applications of this kind of technology are gathered for promoting the development, and potential applications are discussed critically to be able to limit them if necessary. The ethical and legal challenges should not be underestimated, in particular with regard to informational and personal autonomy and the trustworthiness of media. (shrink)

This book is a critical introduction to contemporary French philosopher Jacques Rancière. It is the first introduction in any language to cover all of his major work and offers an accessible presentation and searching evaluation of his significant contributions to the fields of politics, pedagogy, history, literature, film theory and aesthetics. This book traces the emergence of Rancière’s thought over the last forty-five years and situates it in the diverse intellectual contexts in which it intervenes. Beginning with his egalitarian critique (...) of his former teacher Louis Althusser, the book tracks the subsequent elaboration of Rancière’s highly original conception of equality. This approach reveals that a grasp of his early archival and historiographical work is vital for a full understanding both of his later politics and his ongoing investigation of art and aesthetics. Along the way, this book explains and analyses key terms in Rancière’s very distinctive philosophical lexicon, including the ‘police’ order, ‘disagreement’, ‘political subjectivation’, ‘literarity’, the ‘part which has no part’, the ‘regimes of art’ and ‘the distribution of the sensory’. This book argues that Rancière’s work sets a new standard in contestatory critique and concludes by reflecting on the philosophical and policy implications of his singular project. (shrink)

The book revives the neutral monism of Mach, James, and Russell and applies the updated view to the problem of redefining physicalism, explaining the origins of sensation, and the problem of deriving extended physical objects and systems from an ontology of events.

Diffeomorphism invariance is sometimes taken to be a criterion of background independence. This claim is commonly accompanied by a second, that the genuine physical magnitudes (the ``observables'') of background-independent theories and those of background-dependent (non-diffeomorphism-invariant) theories are essentially different in nature. I argue against both claims. Background-dependent theories can be formulated in a diffeomorphism-invariant manner. This suggests that the nature of the physical magnitudes of relevantly analogous theories (one background free, the other background dependent) is essentially the same. The temptation (...) to think otherwise stems from a misunderstanding of the meaning of spacetime coordinates in background-dependent theories. (shrink)

A consideration of Mach's elements, his philosophy of neutral monism, and philosophy of physics, especially space and time, much of it based on unpublished writings from the Nachlass and other original sources. The historical connection between Mach and logical positivism is shown to be superficial at best, and Mach's elements are shown to be mind independent natural qualities (world-elements) with dynamic force, not limited to human sensations.

We make some remarks on the mathematics and metaphysics of the hole argument, in response to a recent article in this journal by Weatherall ([2018]). Broadly speaking, we defend the mainstream philosophical literature from the claim that correct usage of the mathematics of general relativity `blocks' the argument.

The atonement is one of the central and defining doctrines of Christian theology. Yet the nature of the atonement – how it is that Christ's life and death on the cross actually atone for human sin – remains a theological conundrum. This article offers a new argument for an old theory of the atonement, namely, penal substitution. First, it sets out the theological context for the argument. This involves giving some account of alternative theories of the atonement in the tradition, (...) and why penal substitution might be thought a particularly appealing way of thinking about the atonement. The article then presents an argument for a version of penal substitution that involves the application of an idea found in some Augustinian accounts of the transmission of sin from Adam to his progeny. At the end of this exposition, it offers some brief comments on the metaphysics undergirding the theology of this argument. The final section discusses several theological and philosophical objections to this reasoning. (shrink)

In this article, I examine what Kant’s Formula of Universal Law requires of an individual agent in situations of great need, e.g.: if you can easily help a drowning child, or if you know of a famine situation in another country. I first explain why I do not simply apply the standard interpretation of how one can derive concrete duties from Kant’s Universal Law formulation of the Categorical Imperative. I then glean an alternative procedure from Kant’s texts and give the (...) reasons for using that interpretation. Finally, I apply the alternative procedure to situations of great need. – According to the interpretation I glean from Kant’s texts, one (i) should not make an exception to (ii) laws that we believe to be objectively necessary, whereby we derive these rules from (iii) universal ends of humankind. Since we take survival as one of the universal ends of mankind, we deem helping someone whose life is in danger as objectively necessary (to achieve the end). The formal Categorical Imperative demands that one does not make an exception to this rule. Applying this interpretation to cases of great need depends on at least three factors: (i) how urgent the need is, (ii) how great the costs are to the one who helps, and (iii) how many people can help. But at one extreme, where you are the only one who can easily save an innocent person’s life, the Kantian procedure generates a strict duty to help the other in need. (shrink)

We give reasons for our judgements of works of art. (2) Reasons are inherently general, and hence dependent on principles. (3) There are no principles of aesthetic evaluation. Each of these three propositions seems plausible, yet one of them must be false. Illusionism denies (1). Particularism denies (2). Generalism denies (3). We argue that illusionism depends on an unacceptable account of the use of critical language. Particularism cannot account for the connection between reasons and verdicts in criticism. Generalism comes in (...) two forms: reversible generalism is the thesis that there are meaningful generalizations in criticism that admit of exceptions; irreversible generalism is the thesis that such generalizations cannot admit of exceptions. It is argued that Frank Sibley's defence of reversible generalism cannot provide a criterion for distinguishing valenced from non-valenced properties, and thus fails. Irreversible generalism is correct: it is logically cogent and fits our critical practices. (shrink)

In this article I argue that Kant's conception of dignity is commonly misunderstood. On the basis of a few passages in the Grundlegung scholars often attribute to Kant a view of dignity as an absolute inner value all human beings possess. However, a different picture emerges if one takes into account all the passages in which Kant uses ‘dignity’. I shall argue that Kant's conception of dignity is a more Stoic one: He conceives of dignity as sublimity ( Erhabenheit ) (...) or the highest elevation of something over something else. ‘Dignity’ expresses that something is ‘raised above’ all else. What it is raised above, and in virtue of what, depends on the context in which Kant uses ‘dignity’. For instance, he talks about the dignity of a monarch to refer to his rank as the ruler of his subjects. When Kant refers to the dignity of humanity, he expresses the view that human beings have a prerogative over the rest of nature in virtue of being free. What Kant is saying in the famous Grundlegung passage on dignity is that morality is raised above other determinations of will in that morality alone should be valued unconditionally. In unfolding the complicated usage of ‘dignity’ in Kant's works, my reading helps to bring out the coherence of his ethics. (shrink)

Neutral monism is a position in metaphysics defended by Mach, James, and Russell in the early twentieth century. It holds that minds and physical objects are essentially two different orderings of the same underlying neutral elements of nature. This paper sets out some of the central concepts, theses and the historical background of ideas that inform this doctrine of elements. The discussion begins with the classic neutral monism of Mach, James, and Russell in the first part of the paper, then (...) considers recent neo-Russellian versions in the second half. The chances for a revival of neutral monism are probably slight; its key ideas and starting points lie far from those in contemporary philosophy of mind. A better route might be through the philosophy of science and a deeper understanding of causation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature, Knowledge, and ValueOliver Conolly and Bashshar HaydarMany of the terms we use to assess works of literature are cognitive in nature. We say that a work is profound, insightful, shrewd, well-observed, or perceptive, and conversely that it is shallow, or sentimental, or impercipient. A common thread running throughout this terminology is that works of literature are ascribed cognitive features affecting the value of those works qua literature. Use (...) of this terminology therefore implies adherence to a substantial philosophical theory, cognitivism, the thesis that (1) works of literature have cognitive content, and (2) this content enhances their value as works of literature. Note that cognitivism is not the thesis that literature's value resides in its causing us to acquire knowledge, but rather in its displaying such knowledge. A given work's displaying knowledge does not of course entail that it causes us to acquire it.While cognitivism appears consistent with literary critical practice, it is open to a number of objections. In this paper we aim to defend cognitivism and in the process refine it. Broadly, objections to cognitivism deny either (1) the thesis that works of literature contain any cognitive content, or (2) the thesis that such content can be aesthetically relevant in the sense of being relevant to the evaluation of works of literature qua literature. The principal objection is to (2), for it is difficult to deny that no knowledge whatsoever can be obtained from works of art. For example, the Iliad sheds light on values, habits and customs of ancient Greeks, and nineteenth-century Russian novels may inform us about contemporary debates concerning the emancipation of the serfs. It is the relevance of such knowledge to the artistic value of the literature that is in issue. [End Page 111]IThe main challenge faced by the cognitivist is well put by the anti-cognitivist, Peter Lamarque, thus: the "question artistic cognitivists dread most is what (nontrivial) truths they have learnt from works of art." It is thought a difficult question because in "propositional terms the best they can come up with are usually generalities of numbingly banal kind."1 The objection, in short, is that while it is correct that truths can be gleaned from literature, they are trivial. We call this the triviality objection. Stolnitz for example states that the truth to be learned from Pride and Prejudice is, "Stubborn pride and ignorant prejudice keep attractive people apart," which he describes as "pitifully meager."2However, the notion of an insight implies nontriviality: a "trivial insight" is an oxymoron. So if the triviality objection succeeds, it follows that we should either stop calling works of literature insightful and perceptive, or that those terms have a different meaning in the context of literary criticism than they do in everyday parlance.There is nothing which in principle debars a philosophical theory from correcting mistaken practices but the practice in this case is widespread and, on the face of it, unobjectionable. The alternative available open to anti-cognitivism is that literary critical terminology has an altogether different meaning from that in ordinary parlance, so that in a literary context a term such as "insightful" has a formal meaning only. Peter Lamarque for instance asserts that we (rightly) evaluate works of literature in part in terms of their content, but not in terms of the truth of the content: "it is usually a work's treatment of a theme which is judged profound or sentimental."3 Lamarque gives the following examples: "Milton's treatment of the Fall is profound just as is Descartes's appeal to God to refute scepticism, but neither need be interpreted as true." However, it is not as easy to divorce profundity from truth as Lamarque implies. With regard to Milton's treatment of the Fall, it is possible to find it profound without believing in the literal truth of the Fall. One might point to, for example, Milton's treatment of the sexuality of Adam and Eve, and the way in which it is bound up with their awareness of their mortality. When, in Paradise Lost, Adam learns of Eve's disobedience, he declares his wish to fall with her... (shrink)

The domain of professional ethics -- Virtue, ethics, and professional life -- Virtues, vices, and situations -- Professional wisdom -- Care -- Respectfulness -- Trustworthiness -- Justice -- Courage -- Integrity.