Starmaking brings together a cluster of work published over the past 35 years by Nelson Goodman and two Harvard colleagues, Hilary Putnam and Israel Scheffler, on the conceptual connections between monism and pluralism, absolutism and relativism, and idealism and different notions of realism -- issues that are central to metaphysics and epistemology. The title alludes to Goodman's famous defense of the claim that because all true representations of stars and other objects are human creations, it follows that in an important (...) sense the stars themselves are made by us. More generally, the argument moves from the fact that our right representations are constructed by us to the claim that the world itself is similarly constructed. Starmaking addresses the question of whether this seeming paradox can be turned into a serious philosophical view. Goodman and Putnam are sympathetic; Scheffler is the critic. Although many others continue to write about pluralism, relativism, and constructionalism, Starmaking brings together the protagonists in the debate since its beginnings and follows closely its still developing form and substance, focusing sharply on Goodman's claim that "we make versions, and right versions make worlds.". (shrink)

Alan C. LoveDarwinian calisthenicsAn athlete engages in calisthenics as part of basic training and as a preliminary to more advanced or intense activity. Whether it is stretching, lunges, crunches, or push-ups, routine calisthenics provide a baseline of strength and flexibility that prevent a variety of injuries that might otherwise be incurred. Peter Bowler has spent 40 years doing Darwinian calisthenics, researching and writing on the development of evolutionary ideas with special attention to Darwin and subsequent filiations among scientists exploring (...) evolution . Therefore, we would expect that when Bowler engages in a counterfactual history—imagining a world without Darwin—he is able to avoid historical injury and generate novel insights. My assessment is that the results are mixed. Before we can see why, it is necessary to walk briskly through the main contours of his argument.Bowler begins with an apologia for a counterfactual appr .. (shrink)

Rita Chin, The Crisis of Multiculturalism in Europe: A History, New Jersey, Princeton University Press, 2017. Péter Vataščin.

Book Symposium on The Territories of Science and Religion (University of Chicago Press, 2015). The author responds to review essays by John Heilbron, Stephen Gaukroger, and Yiftach Fehige.

A Review of Gabriela Roxana Carone, Plato’s Cosmology and its Ethical Dimensions, Cambridge University Press, Cambridge, 2005.

In The Metaphysics of Margaret Cavendish and Anne Conway, Marcy P. Lascano holds up the metaphysical views of two early modern women philosophers alongside one another in order to demonstrate that...

Beer, Peter Review(s) of: Meaning and History in Systematic Theology: Essays in Honor of Robert Doran SJ, by John D. Dadosky, ed. (Milwaukee: Marquette University Press, 2009), pp.518.

A necessary companion to the acclaimed Stone Reader, Modern Ethics in 77 Arguments is a landmark collection for contemporary ethical thought. Since 2010, The Stone—the immensely popular, award-winning philosophy series in The New York Times—has revived and reinterpreted age-old inquires to speak to our modern condition. This new collection of essays from the series does for modern ethics what The Stone Reader did for modern philosophy. New York Times editor Peter Catapano and best-selling author and philosopher Simon Critchley have (...) curated an unparalleled collection that illuminates just how imperative ethical thinking is in our day-to-day life. Like its predecessor, Modern Ethics in 77 Arguments explores long-standing ethical and moral issues in light of our most urgent dilemmas. Divided into twelve sections, the book opens with a series of broad arguments on existence, human nature and morality. Indeed, “big” questions of the human condition are explored by some of our best-known and most accomplished living philosophers: What is the meaning of our existence? Should we really “do what we love”? How should we respond to evil? Is pure altruism possible? Along with these examinations of timeless moral conundrums, readers will find arguments in the more contentious areas of religion and government: Can we have a moral life without God? Does it really matter if God exists? Is patriotism moral? Accessible and provocative, these pieces expose the persistence of the most basic themes and questions of moral and ethical life. Many of the essays stress the crucial importance of directly engaging the most pressing moral dilemmas in modern life. Should we be the last generation, knowing all the harm we’ve done to our planet? Should we embrace our inner carnivores, or swear off all animal products? From gun control and drone warfare to the morals of marriage and reproduction, readers will view familiar debates in new, surprising lights. The editors have meticulously arranged this book to reflect a wide range of perspectives, voices and rhetorical strategies. By directly addressing some of the most complex and troubling issues we face today—racial discrimination, economic inequality, immigration, citizenship and more—the volume reveals the profound power of ethics in shaping our perceptions of nearly every aspect of our lives. A jargon-free, insightful compendium, Modern Ethics in 77 Arguments offers a panoramic view of morality and is a critical addition to The Stone Reader that will energize and enliven the world of ethical thought in both the classroom and everyday American life. Including… The Meaningfulness of Lives by Todd May * A Life Beyond “Do What You Love” by Gordon Marino * Evolution and our Inner Conflict by Edward O. Wilson * Morals Without God? by Frans de Waal * Does It Matter Whether God Exists? by Gary Gutting * The Moral Hazard of Drones by John Kaag and Sarah Kreps * Can Refugees Have Human Rights? by Omri Boehm * Dear White America by George Yancy * Girlfriend, Mother, Professor? by Carol Hay * The End of “Marriage” by Laurie Shrage * When Vegans Won’t Compromise by Bob Fischer and James McWilliams * Should This Be the Last Generation? by Peter Singer. (shrink)

For over 50 years, since the development of nuclear-armed ICBMs, the USA has sought a way to defend against them. These efforts evolved through various strategies and technologies: from nuclear-tipped rockets through space-based laser weapons to today’s system of ground-based kinetic-kill interceptors. Public debate around these issues reached a peak in the 1980s with President Reagan’s Strategic Defense Initiative, popularly known as Star Wars.Rebecca Slayton examines this history in Arguments that Count, a valuable and well-told account of a particular aspect (...) of missile defense: computer software. Missile defense required identifying a hostile missile launch, keeping track of thousands of incoming warheads on their ballistic trajectories, and directing interceptors to the right place—and doing all this in less than 30 minutes. From the outset, designers turned to computers to do the complex calculations quickly enough. But missile defense presented an additional factor, in that any m .. (shrink)

The New Yorker calls him "the most influential living philosopher." His critics call him "the most dangerous man in the world." Peter Singer, the De Camp Professor of Bioethics at Princeton University's Center for Human Values, is most widely and controversially known for his view that animals have the same moral status as humans. He is the author of many books, including Practical Ethics (1979), Rethinking Life and Death (1995), and Animal Liberation (1975), which has sold more than 450,000 (...) copies. This year he published Writings on an Ethical Life (Ecco Press) and A Darwinian Left: Politics, Evolution, and Cooperation (Yale University Press), which argues that the left must replace Marx with Darwin if it is to remain a viable force. (shrink)

(2004). The Philosophical Athlete By Heather L. Reid. Published 2002 by Carolina Academic Press, Durham, NC. Journal of the Philosophy of Sport: Vol. 31, No. 1, pp. 97-99.

Rich with historical and cultural value, these works are published unaltered from the original University of Minnesota Press editions.

Since most pressing today on a global scale is to be able to unite religion, philosophy, and science into parts of a coherent civilizational whole, and since the ability to unite a multitude into parts of a coherent whole essentially requires understanding the natures of the things and the way they can or cannot be essentially related, this paper chiefly considers precisely why the modern world has been unable to effect this union. In so doing, it argues that the chief (...) cause of this inability to unite these cultural natures has been because the contemporary world, and the West especially, has lost its understanding of philosophy and science and has intentionally divorced from essential connection to wisdom. Finally, it proposes a common sense way properly to understand these natures, reunite them to wisdom, and revive Western and global civilization. (shrink)

A historical perspective on the future of the car Content Type Journal Article Pages 1-3 DOI 10.1007/s11016-010-9479-z Authors Peter D. Norton, Department of Science, Technology and Society, University of Virginia, Charlottesville, VA 22904-4744, USA Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

This is Volume V in the series Midwest Studies in Philosophy In 1979 the University of Minnesota Press assumed publication of the annual Midwest Studies in ...

In a recent book, Anjan Chakravartty builds a case for a particular conception of the relationship of science to metaphysics. The main novel feature in his account of scientific ontology is his construction of a metaphysical distance measure. Some ontological claims are close to the science that informs those claims, and some are further away. The distance is a measure of the epistemic risk one takes in asserting the claim: the further from the empirical base, the greater the risk. But (...) conversely, claims far from the empirical base can serve explanatory and unificatory purposes regarding claims closer in. Since different philosophers have different attitudes towards epistemic risk, Chakravartty endorses a pluralism about scientific ontology. Chakravartty illustrates his arguments concerning scientific ontology by considering what we can infer from the Standard Model of particle physics concerning the ontological status of the structures and entities it describes. I argue that, while this case study initially appears to support Chakravartty’s arguments, on closer inspection it suggests a more deflationary approach to scientific ontology. (shrink)

Hotchin, Peter Review of: Humanism: A very short introduction, by Stephen Law, Oxford: Oxford University Press, 2011.

Truths about non-existent things Content Type Journal Article Pages 1-3 DOI 10.1007/s11016-011-9583-8 Authors Peter Forrest, Philosophy, School of Humanities, University of New England, Armidale, NSW 2351, Australia Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

ABSTRACT In Germany, applied ethics is under attack from a diverse coalition of left‐wing organisations, disability groups, and some conservative defenders of a strict doctrine of the sanctity of human life. The attack has been pressed to the point of forcing the cancellation of conferences and disrupting lectures or classes so that they cannot take place. This essay describes the extent and nature of the attack, and makes a preliminary assessment of its significance.

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)