People sometimes disagree about who owns which objects, and these ownership dilemmas can lead to costly disputes. We investigate the cognitive mechanisms underlying people's judgments about finder versus landowner cases, in which a person finds an object on someone else's land. We test psychological hypotheses motivated directly by three major principles that govern these cases in the law. The results show that people are more likely to favor the finder when the object is in a public space compared to a (...) private space. We find mixed support for the hypothesis that people are less likely to favor a finder who is employed by the landowner. Last, we find no support for the hypothesis that people are more likely to favor finders for objects located above ground compared to below ground. We discuss implications for psychological theories of ownership and potential applications to property law. (shrink)

_The Ethics Toolkit_ provides an accessible and engaging compendium of concepts, theories, and strategies that encourage students and advanced readers to think critically about ethics so that they can engage intelligently in ethical study, thought, and debate. Written by the authors of the popular _The Philosophers’ Toolkit_ ; Baggini is also a renowned print and broadcast journalist, and a prolific author of popular philosophy books Uses clear and accessible language appropriate for use both inside and beyond the classroom Enlivened through (...) the use of real-world and hypothetical examples Cross-referencing of entries helps to connect and contrast ideas Features lists of prominent ethics organizations and useful websites Encourages readers to think critically about ethics and teaches them how to engage intelligently in ethical study, thought, and debate. (shrink)

The second edition of this popular compendium provides the necessary intellectual equipment to engage with and participate in effective philosophical argument, reading, and reflection Features significantly revised, updated and expanded entries, and an entirely new section drawn from methods in the history of philosophy This edition has a broad, pluralistic approach--appealing to readers in both continental philosophy and the history of philosophy, as well as analytic philosophy Explains difficult concepts in an easily accessible manner, and addresses the use and application (...) of these concepts Proven useful to philosophy students at both beginning and advanced levels. (shrink)

Georg Simon Ohm's work in the field of electricity led to what is now considered to be the most fundamental law of electrical circuits, Ohm's Law. Much less known is that only months earlier, Ohm had published another law—one that differed significantly from the now accepted one. The latter entailed a logarithmic relation between the length of the conductor and a parameter that Ohm called “loss of force.” This paper discusses how Ohm came up with an initial law that he (...) felt compelled to correct a few months later. We analyze Ohm's publication as well as his laboratory notes, relating them to our own laboratory experiences while using the replication method to study his work. We also discuss the conceptual background of Ohm's work. We conclude that he was significantly influenced by French studies in the field of electricity, most notably the ones by Charles Augustin Coulomb. (shrink)

Much has been written about recidivist punishments, particularly within the area of criminology. However there is a notorious lack of penal philosophical reflection on this issue. This book attempts to fill that gap by presenting the philosopher’s view on this matter as a way of furthering the debate on recidivist punishments.

The Philosophers' Toolkit provides all the intellectual equipment necessary to engage with and participate in philosophical argument, reading and reflection. Each of its 87 entries explains how to use an important concept or argumentative technique accurately and effectively.

Strangers to Nature brings together many of the leading scholars who are working to redefine and expand the discourse on animal ethics. This volume will engage both scholars and lay-people by revealing the breadth of theorizing about the human/non-human animal relationship that is currently taking place.

Pioneering work in the 1940s and 1950s suggested that the concept of chunking might be important in many processes of perception, learning and cognition in humans and animals. We summarize here the major sources of evidence for chunking mechanisms, and consider how such mechanisms have been implemented in computational models of the learning process. We distinguish two forms of chunking: the first deliberate, under strategic control, and goal-oriented; the second automatic, continuous, and linked to perceptual processes. Recent work with discrimination-network (...) computational models of long- and short-term memory (EPAM/CHREST) has produced a diverse range of applications of perceptual chunking. We focus on recent successes in verbal learning, expert memory, language acquisition and learning multiple representations, to illustrate the implementation and use of chunking mechanisms within contemporary models of human learning. (shrink)

Van Inwagen proposes that besides simples only living organisms exist as composite objects. This paper suggests expanding van Inwagen’s ontology by also accepting composite objects in the case that physical bonding occurs (plus some extra conditions). Such objects are not living organ-isms but rather physical bodies. They include (approximately) the complete realm of inanimate ordinary objects, like rocks and tables, as well as inanimate scientific objects, like atoms and mol-ecules, the latter filling the ontological gap between simples and organisms in (...) van Inwagen’s origi-nal picture. We thus propose a compositional pluralism claiming that composition arises if and on-ly if bonding or life occurs. (shrink)

Throughout the biological and biomedical sciences there is a growing need for, prescriptive ‘minimum information’ (MI) checklists specifying the key information to include when reporting experimental results are beginning to find favor with experimentalists, analysts, publishers and funders alike. Such checklists aim to ensure that methods, data, analyses and results are described to a level sufficient to support the unambiguous interpretation, sophisticated search, reanalysis and experimental corroboration and reuse of data sets, facilitating the extraction of maximum value from data sets (...) them. However, such ‘minimum information’ MI checklists are usually developed independently by groups working within representatives of particular biologically- or technologically-delineated domains. Consequently, an overview of the full range of checklists can be difficult to establish without intensive searching, and even tracking thetheir individual evolution of single checklists may be a non-trivial exercise. Checklists are also inevitably partially redundant when measured one against another, and where they overlap is far from straightforward. Furthermore, conflicts in scope and arbitrary decisions on wording and sub-structuring make integration difficult. This presents inhibit their use in combination. Overall, these issues present significant difficulties for the users of checklists, especially those in areas such as systems biology, who routinely combine information from multiple biological domains and technology platforms. To address all of the above, we present MIBBI (Minimum Information for Biological and Biomedical Investigations); a web-based communal resource for such checklists, designed to act as a ‘one-stop shop’ for those exploring the range of extant checklist projects, and to foster collaborative, integrative development and ultimately promote gradual integration of checklists. (shrink)

Generative AI programs can produce high-quality written and visual content that may be used for good or ill. We argue that a credit–blame asymmetry arises for assigning responsibility for these outputs and discuss urgent ethical and policy implications focused on large-scale language models.

ABSTRACT The central aim of Peter Hägel’s Billionaires in World Politics (BWP) is to challenge the assumption that private individuals lack agency and power in world politics – an assumption that is widely shared in the field of International Relations (IR). Hägel’s methodological strategy to achieve this aim is twofold. First, he concentrates on minutest biographical aspects of billionaires to lay bare the idiosyncrasy of their choices, and to falsify, thus, structuralist assumptions of how individual agency is undermined by (...) factors such as class, roles, or fields. Second, Hägel engages in counter-factual reasoning to support the claim that these individual decisions end up having a real impact on public affairs abroad. This impact is difficult to overestimate given that, as Hägel reveals, billionaires have affected a whole array of political issues, including Brexit, climate change policy, democratic development in Eastern Europe, global health policy, the Israeli-Palestine conflict, and the war in Iraq. This introduction starts off by elaborating on the central scholarly contribution of BWP. Following that, this introduction explains why the insights that BWP provides suggest that we do not live in a neo-feudal order, despite the immense global economic inequality which billionaires’ wealth manifests. (shrink)

Peter Kivy has become convinced that it is impossible for pure, instrumental music to be profound. This is because he takes works of such music to be incapable of meeting what he claims to be two necessary conditions for artistic profundity: that the work denotes something profound, and that the work expresses profound propositions about its profound denotatum. The negative part of this paper argues as follows. Although works of pure, instrumental music do, indeed, fail to meet these conditions, (...) the said conditions are not themselves necessary for artistic profundity. In fact, each is a misinterpretation of a distinct, genuinely necessary condition for a work’s being profound: respectively, that the work has a profound subject matter, and that the work handles its profound subject matter in such a way as to elicit a deeper understanding of it in the suitably situated and prepared appreciator. The positive part of the paper elaborates these genuinely necessary conditions for artistic profundity and then argues that, once they have been disentangled from Kivy’s misconstruals of them, it becomes evident that they can be met by pieces of pure, instrumental music. (shrink)

Knowing someone personally centrally involves engaging in various patterns of affective response. Inasmuch as humans can know God personally, this basic insight about the relationship between personal knowledge and affective response also applies to God: knowing God involves responding to him, and to the world, in various affectively toned ways. In light of this insight, I explore how one particular practice might contribute to human knowledge of God: namely, engaging with sacred music – in particular, sacred music in the Western, (...) classical tradition. In investigating this topic, I tackle an issue at the interface between the philosophy of religion and aesthetics: sacred music’s capacity to arouse religious emotions. I use as a springboard Peter Kivy’s view that ‘music alone’ can only arouse emotions about itself. This view, I argue, has a counterintuitive consequence: the music in sacred works would play no part in arousing emotions with religious objects. In contrast, I develop an account of how music combines with religious factors to arouse religious emotions. I then draw out two consequences for how music can facilitate understanding between religious and non-religious outlooks. The upshot of all this, I suggest, is that by expanding the listener’s religious-emotional landscape, sacred music can enrich her knowledge of God – and that this is possible whether or not the listener subscribes propositionally to God’s reality or to any other religious doctrines. (shrink)

Animals obviously cannot have a right of free speech or a right to vote because they lack the relevant capacities. But their right to life and to be free of exploitation is no less fundamental than the corresponding right of humans, writes Julian H. Franklin. This theoretically rigorous book will reassure the committed, help the uncertain to decide, and arm the polemicist. Franklin examines all the major arguments for animal rights proposed to date and extends the philosophy in new (...) directions. _Animal Rights and Moral Philosophy_ begins by considering the utilitarian argument of equal respect for animals advocated by Peter Singer and, even more favorably, the rights approach that has been advanced by Tom Regan. Despite their merits, both are found wanting as theoretical foundations for animal rights. Franklin also examines the ecofeminist argument for an ethics of care and several rationalist arguments before concluding that Kant's categorical imperative can be expanded to form a basis for an ethical system that includes all sentient beings. Franklin also discusses compassion as applied to animals, encompassing Albert Schweitzer's ethics of reverence for life. He concludes his analysis by considering conflicts of rights between animals and humans. (shrink)

This volume presents new essays on art, mind, and narrative inspired by the work of the late Peter Goldie, who was Samuel Hall Professor of Philosophy at the University of Manchester until 2011. Divided into three sections - Narrative Thinking; Emotion, Mind, and Art; and Art, Value, and Ontology - the book presents fascinating new philosophical work on these intertwined subjects. Topics covered include the role of narrative thinking in our lives, the nature of our imaginative engagement with fiction, (...) the emotions and their role in motivating action, and the nature of conceptual art. (shrink)

Animals obviously cannot have a right of free speech or a right to vote because they lack the relevant capacities. But their right to life and to be free of exploitation is no less fundamental than the corresponding right of humans, writes Julian H. Franklin. This theoretically rigorous book will reassure the committed, help the uncertain to decide, and arm the polemicist. Franklin examines all the major arguments for animal rights proposed to date and extends the philosophy in new (...) directions. _Animal Rights and Moral Philosophy_ begins by considering the utilitarian argument of equal respect for animals advocated by Peter Singer and, even more favorably, the rights approach that has been advanced by Tom Regan. Despite their merits, both are found wanting as theoretical foundations for animal rights. Franklin also examines the ecofeminist argument for an ethics of care and several rationalist arguments before concluding that Kant's categorical imperative can be expanded to form a basis for an ethical system that includes all sentient beings. Franklin also discusses compassion as applied to animals, encompassing Albert Schweitzer's ethics of reverence for life. He concludes his analysis by considering conflicts of rights between animals and humans. (shrink)

In Markets Without Limits and a series of related papers, Jason Brennan and Peter Jaworski argue that it is morally permissible to buy and sell anything that it is morally permissible to possess and exchange outside of the market. Accordingly, we should open markets in “contested commodities” including blood, gametes, surrogacy services, and transplantable organs. This paper clarifies some important aspects of the case for market boundaries and in so doing shows why there are in fact moral limits to (...) the market. I argue that the case for restricting the scope of the market does not turn on the idea that some things are constitutively non-market goods; it turns instead on the idea that treating some things according to market norms would threaten the realization of particular kinds of human interests. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

Rising powers like India and Brazil have recently been gaining considerable economic and political power. This has led to the emergence of a nascent multipolarity in global affairs. Theorists of global distributive justice, however, continue to focus almost exclusively on the responsibility of the established powers for combating global poverty and neglect whether there is a similar responsibility of rising powers. That focus neglects that great shifts have occurred in the distribution of the economically severely poor over the past three (...) decades. According to recent work by Andy Sumner, 74% of those who live in extreme economic poverty resided in middle-income countries in 2008. This paper explores this lacuna and shows that there are several grounds for attributing a similar responsibility to rising powers. These grounds are familiar from discussions of the established powers' responsibility for global distributive injustice in the writings of John Rawls, Peter Singer and Thomas Pogge. They are the capa.. (shrink)

This article tries to shed light on the multiple, but underrated pleasures of the heist film – a genre that has attracted numerous major directors from Jean-Pierre Melville and Stanley Kubrick to Michael Mann and Steven Soderbergh, but has received limited scholarly attention. I approach the genre from a, broadly, philosophical perspective and draw on thinkers such as Peter Sloterdijk, Georg Simmel, Paul Souriau and Bruno Latour to argue that their emphasis on (1) skillful action and kinaesthetic empathy, (2) (...) smooth transgression of boundaries and (3) well-functioning social collaboration and we-connection, the genre's best exemplars satisfy, in fictional and quasi-utopian form, a number of real-life desires. (shrink)

Heritable genome editing is officially here. ‘Lulu’ and ‘Nana’, born in China, are the first children whose genomes have been intentionally modified. A third gene edited baby may have already been born. Scientists in Russia are planning similar applications.1 We recently argued that HGE should be judged by the same ethical standards that we apply to other technologies.2 There is a moral imperative to improve the health of future generations, to reduce inequalities and improve standards of living. If we can (...) use HGE to achieve these aims, we should. We want to thank Sarah Chan, Peter Mills, Rachel Horton and Anneke Lucassen for their thoughtful criticisms of our paper. We would also like to thank the editors of the Journal of Medical Ethics for helping facilitate this detailed discussion. The moral questions posed by HGE, are complex, multifaceted and difficult. They required focused attention, which formats like this encourage. Our responses to each of the commentaries are detailed below We agree with the following points made in Horton and Lucassen’s paper ‘ The moral argument for heritable genome editing requires an inappropriately deterministic view of genetics ’.3 These are some of the reasons why we say HGE targeting polygenic diseases is likely decades away.2 The technical challenges seem daunting. But science can move quickly, and often does so in bounds. Our capacity to capture and analyse genetic data is rapidly expanding. Over the next 5 years, genomic …. (shrink)

En la primera parte del artículo examino la interpretación que hace Karl O. Apel de varios textos de Peter Winch sobre el problema de la comprensión de culturas ajenas, distinguiendo aquellos aspectos de la crítica de Apel que me parecen plausibles de otros que considero infundados. En la segunda parte trato de demostrar que en la obra del ultimo Wittgenstein hay elementos para una teoría de la comprensión transcultural libre de las limitaciones que Apel atribuye a Winch, pero a (...) la vez enfocada desde una perspectiva naturalista diametralmente opuesta a la aproximación trascendental de Apel a la hermenéutica.The first part of the article considers Karl O. Apel’s interpretation of various texts by Peter Winch dealing with the problem of understanding alien cultures. I distinguish those aspects of Apel’s critique that seem plausible from others that I consider to be ill-founded. The second part seeks to demonstrate that Wittgenstein’s works contains elements that allow for a theory of transcultural understanding wich is free from the limitations that Apel attributes to Winch. However, such a theory should be developed from a naturalistic perspective that is diametrally opposed to Apel’s transcendental approach to hermeneutics. (shrink)

Although much has been written about the vigorous debates over science and religion in the Victorian era, little attention has been paid to their continuing importance in early twentieth-century Britain. Reconciling Science and Religion provides a comprehensive survey of the interplay between British science and religion from the late nineteenth century to World War II. Peter J. Bowler argues that unlike the United States, where a strong fundamentalist opposition to evolutionism developed in the 1920s (most famously expressed in the (...) Scopes "monkey trial" of 1925), in Britain there was a concerted effort to reconcile science and religion. Intellectually conservative scientists championed the reconciliation and were supported by liberal theologians in the Free Churches and the Church of England, especially the Anglican "Modernists." Popular writers such as Julian Huxley and George Bernard Shaw sought to create a non-Christian religion similar in some respects to the Modernist position. Younger scientists and secularists—including Rationalists such as H. G. Wells and the Marxists—tended to oppose these efforts, as did conservative Christians, who saw the liberal position as a betrayal of the true spirit of their religion. With the increased social tensions of the 1930s, as the churches moved toward a neo-orthodoxy unfriendly to natural theology and biologists adopted the "Modern Synthesis" of genetics and evolutionary theory, the proposed reconciliation fell apart. Because the tensions between science and religion—and efforts at reconciling the two—are still very much with us today, Bowler's book will be important for everyone interested in these issues. Contents: Illustrations Preface Introduction: A Legacy of Conflict? Confrontation, Cooperation, or Coexistence? Victorian Background Science and Religion in the New Century Part One: The Sciences and Religion 1. The Religion of Scientists Changing Patterns of Belief Scientists and Christianity Scientists and Theism Method and Meaning Science and Values 2. Scientists against Superstition Science and Rationalism Religion without Revelation Marxists and Other Radicals Science, Religion, and the History of Science 3. Physics and Cosmology Ether and Spirit The New Physics The Earth and the Universe 4. Evolution and the New Natural Theology Science and Creation Evolution and Progress The Role of Lamarckism Darwinism Revived 5. Matter, Life, and Mind The Origin of Life Vitalism and Organicism Mind and Body Psychology and Religion Part Two: The Churches and Science 6. The Churches in the New Century The Challenge of the New The Churches’ Response 7. The New Theology in the Free Churches Precursors of the New Theology Campbell and the New Theology Modernism in the Free Churches 8. Anglican Modernism Modernism and the New Natural Theology Charles F. D’Arcy E. W. Barnes W. R. Inge Charles Raven 9. The Reaction against Modernism Evangelicals against Evolution Liberal Catholicism The Menace of the New Psychology Science and Modern Life Theology in the Thirties Roman Catholicism Part Three: The Wider Debate 10. Science and Secularism Against Idealism Popular Rationalism The Social Reformers 11. Religion’s Defenders From Idealism to Spiritualism Creative and Emergent Evolution Evolution and the Human Spirit Progress through Struggle The Christian Response Epilogue Biographical Appendix Bibliography Index. (shrink)

RÉSUMÉLes œuvres musicales sont à la fois multiples et audibles. Dans le domaine de l'ontologie musicale, deux des principaux modèles conçus pour expliquer ces caractéristiques des œuvres musicales sont le modèle type/instanciation et le modèle étape/continuité. Julian Dodd a soutenu que le modèle type/instanciation a un avantage sur le modèle étape/continuité, car il peut offrir une explication directe de l'audibilité des œuvres musicales en termes de catégorie ontologique. Je défends le modèle étape/continuité contre l'argument de Dodd en invoquant une (...) relation de continuité qui unifie l’œuvre. (shrink)

Sowohl die wissenschaftliche als auch die lebensweltliche Praxis sind ohne den Austausch von Gründen nicht denkbar, und dennoch ist notorisch unklar, was man unter Gründen eigentlich verstehen sollte: Was ist ihr ontologischer und erkenntnistheoretischer Status? Sind sie objektiv oder subjektiv? In welchem Verhältnis stehen praktische und theoretische Gründe zueinander? Was können Gründe überhaupt leisten? Die in diesem Band versammelten Kongressbeiträge untersuchen das Thema »Gründe« aus den unterschiedlichen Perspektiven der verschiedenen Strömungen der zeitgenössischen Philosophie. Dieser Pluralismus spiegelt sich auch in den (...) Hauptvorträgen wider, für die Seyla Benhabib, Lorraine Daston, Peter Gärdenfors, Jürgen Habermas, Franz von Kutschera, Susan Neiman und Robert Pippin gewonnen werden konnten. (shrink)

In their paper Chris Gyngell, Hilary Bowman-Smart and Julian Savulescu offer a careful analysis of the Nuffield Council on Bioethics report, Genome Editing and Human Reproduction: social and ethical issues but they challenge us to go further still.i I want to suggest that, although their analysis is clear and accurate, its rather ‘molecular’ approach neglects the overall arc and orientation of the report. Furthermore, their conclusions about prospective parents’ reproductive obligations lack sensitivity to the proper evaluative context and offer (...) littlein the way of policy prescriptions. A neglected aspect of the report is the dialectical relation of the three sets of considerations through which it advances: those relating to the individuals directly involved, the wider society in which they live, and the future of human being in general. In particular, Gyngell et al.’s analysis does not attend to how the second principle advanced in the report interacts with the first. It also ignores an important implication of the refusal of a final synthesis, namely, to inaugurate a continual process of reflection between the first two sets of considerations. And it therefore inevitably glosses over practical questions of the mode and venue for this reflection. Something that has not been well understood in the reception …. (shrink)

Frontmatter -- Vorwort -- Inhalt -- 1. Teil Klassische Positionen -- Natürliche Freiheit / Locke, John -- Freiheit und praktische Vernunft / Kant, Immanuel -- Bürgerliche Freiheit / Mill, John Stuart -- Natürliche Freiheit, moralische Einschränkungen und der Staat / Nozick, Robert -- Kant's Theory of Justice / Pogge, Thomas W. -- Morality and the Liberal Ideal / Sandel, Michael J. -- Freiheit im Liberalismus und bei Marx -- 2. Teil Zeitgenössische Positionen -- Zwei Freiheitsbegriffe / Berlin, Isaiah -- Liberalism (...) / Dworkin, Ronald -- Gleiche Freiheit für alle / Rawls, John -- Theoretical Foundations of Liberalism / Waldron, Jeremy -- Defending Liberalism / Galston, William -- Liberalism and the Art of Separation / Walzer, Michael -- Der Gedanke eines übergreifenden Konsenses / Rawls, John -- 3. Teil Rechtsphilosophische Aspekte -- Between Utility and Rights / Hart, H. L. A. -- The Utilitarian Logic of Liberalism / Hardin, Russell -- Freiheit, Normen und operatives Gerichtsverfahren / Roberts, Julian -- 4. Teil Postmoderne Freiheit -- The Subject and Power / Foucault, Michel --,Nachmetaphysische Ethik' oder: die Freiheit, seine Moral selbst zu wählen / Scheit, Herbert -- Die Kontingenz eines liberalen Gemeinwesens / Rorty, Richard -- 5. Teil Entscheidungstheoretische Aspekte -- Individualrechte ernst - aber nicht unangemessen ernst genommen / Trapp, Rainer Werner -- Grundlinien einer Theorie gesellschaftlicher Freiheit / Koller, Peter -- Positionen und Rechte: Drei Lösungen des Liberalen Paradoxons / Kern, Lucian / Nida-Rümelin, Julian -- Zur Bedeutung von Freiheitsrechten für die moralische Beurteilung kollektiver Entscheidungen / Nida-Rümelin, Martine -- Quellennachweise -- Backmatter. (shrink)