The production of complex sequences like music or speech requires the rapid and temporally precise production of events (e.g., notes and chords), often at fast rates. Memory retrieval in these circumstances may rely on the simultaneous activation of both the current event and the surrounding context (Lashley, 1951). We describe an extension to a model of incremental retrieval in sequence production (Palmer & Pfordresher, 2003) that incorporates this logic to predict overall error rates and speed—accuracy trade-offs, as well as (...) types of serial ordering errors. The model—assumes that retrieval of the current event is influenced by activations of surrounding events. Activations of surrounding events increase over time, such that both the accessibility of distant events and overall accuracy increases at slower production rates. The model's predictions were tested in an experiment in which pianists performed unfamiliar music at 8 different tempi. Model fits to speed—accuracy data and to serial ordering errors support model predictions. Parameter fits to individual data further suggest that working memory contributes to the retrieval of serial order and overall accuracy is influenced in addition by motor dexterity and domain-specific skill. (shrink)

Companion Animal Ethics explores the important ethical questions and problems that arise as a result of humans keeping animals as companions. The first comprehensive book dedicated to ethical and welfare concerns surrounding companion animals Scholarly but still written in an accessible and engaging style Considers the idea of animal companionship and why it should matter ethically Explores problems associated with animals sharing human lifestyles and homes, such as obesity, behavior issues, selective breeding, over-treatment, abandonment, euthanasia and environmental impacts Offers insights (...) into practical ways of improving ethical standards relating to animal companions. (shrink)

Wildlife Ethics A systematic account of the ethical issues related to wildlife management and conservation Wildlife Ethics is the first systematic, book-length discussion of the ethics of wildlife conservation and management, and examines the key ethical questions and controversies. Tackling both theory and practice, the text is divided into two parts. The first describes key concepts, ethical theories, and management models relating to wildlife; the second puts these concepts, theories, and models to work, illustrating their significance through detailed case studies (...) on controversies in wildlife management and conservation. The book explores pressing topics including human responsibilities due to climate change, tradeoffs when managing zoonotic disease risks, the ethics of the wildlife trade, culling non-native species, indigenous wildlife use, and zoo-based conservation programs. Readers are encouraged to explore different ways of valuing wild animals and their practical implications. This essential text: Explains and explores relationships between valuing biodiversity, human utility, ecosystems, species, and animal welfare Describes established approaches to wildlife management, such as sustainable use, and emerging concepts, such as compassionate conservation Discusses key ethical theories, including utilitarianism, ecocentrism, and animal rights Offers a practical model of how to analyze ethical issues in wildlife management and conservation Wildlife Ethics: The Ethics of Wildlife Management and Conservation is an accessible introduction to complex ethical issues, making the book an important resource for students in fields such as conservation biology, ecology, environmental science and policy, game management, public health and veterinary medicine. It will also be an invaluable tool for wildlife managers, conservationists, One Health practitioners, practicing veterinarians and animal rehabilitation staff, contemporary wildlife professionals and other stakeholders. (shrink)

Previous research suggests that implicit sequence learning is superior for believers in the paranormal and individuals with increased cerebral dopamine. Thirty-five healthy participants performed feedback-guided anticipations of four arrow directions. A 100-trial random sequence preceded two 100-trial biased sequences in which visual targets on trial t tended to be displaced 90° clockwise or counter-clockwise from those on t − 1. ISL was defined as a positive change during the course of the biased run in the difference between pro-bias and counter-bias (...) responses. It was hypothesized that this difference would be greater for believers in the paranormal than for skeptics, for those who received dopamine than for those who received placebo, and for believers who received dopamine than for the other groups. None of the hypotheses were supported by the data. It is suggested that a simple binary guessing task with a focus on prediction accuracy during early trials should be considered for future explorations. (shrink)

The production of complex sequences like music or speech requires the rapid and temporally precise production of events (e.g., notes and chords), often at fast rates. Memory retrieval in these circumstances may rely on the simultaneous activation of both the current event and the surrounding context (Lashley, 1951). We describe an extension to a model of incremental retrieval in sequence production (Palmer & Pfordresher, 2003) that incorporates this logic to predict overall error rates and speed—accuracy trade-offs, as well as (...) types of serial ordering errors. The model—assumes that retrieval of the current event is influenced by activations of surrounding events. Activations of surrounding events increase over time, such that both the accessibility of distant events and overall accuracy increases at slower production rates. The model's predictions were tested in an experiment in which pianists performed unfamiliar music at 8 different tempi. Model fits to speed—accuracy data and to serial ordering errors support model predictions. Parameter fits to individual data further suggest that working memory contributes to the retrieval of serial order and overall accuracy is influenced in addition by motor dexterity and domain-specific skill. (shrink)

Individuals typically produce auditory sequences, such as speech or music, at a consistent spontaneous rate or tempo. We addressed whether spontaneous rates would show patterns of convergence across the domains of music and language production when the same participants spoke sentences and performed melodic phrases on a piano. Although timing plays a critical role in both domains, different communicative and motor constraints apply in each case and so it is not clear whether music and speech would display similar timing mechanisms. (...) We report the results of two experiments in which adult participants produced sequences from memory at a comfortable spontaneous (uncued) rate. In Experiment 1, monolingual pianists in Buffalo, New York engaged in three production tasks: speaking sentences from memory, performing short melodies from memory, and tapping isochronously. In Experiment 2, English-French bilingual pianists in Montréal, Canada produced melodies on a piano as in Experiment 1, and spoke short rhythmically-structured phrases repeatedly. Both experiments led to the same pattern of results. Participants exhibited consistent spontaneous rates within each task. People who produced one spoken phrase rapidly were likely to produce another spoken phrase rapidly. This consistency across stimuli was also found for performance of different musical melodies. In general, spontaneous rates across speech and music tasks were not correlated, whereas rates of tapping and music were correlated. Speech rates (for syllables) were faster than music rates (for tones) and speech showed a smaller range of spontaneous rates across individuals than did music or tapping rates. Taken together, these results suggest that spontaneous rate reflects cumulative influences of endogenous rhythms (in consistent self-generated rates within domain), peripheral motor constraints (in finger movements across tapping and music), and communicative goals based on the cultural transmission of auditory information (slower rates for to-be-synchronized music than for speech). (shrink)

Recent research has begun to investigate sensory processing in relation to nonclinical variation in traits associated with the autism spectrum disorders (ASD). We propose that existing accounts of autistic perception can be augmented by considering a role for individual differences in top-down expectations for the precision of sensory input, related to the processing of state-dependent levels of uncertainty. We therefore examined ASD-like traits in relation to the rubber-hand illusion: an experimental paradigm that typically elicits crossmodal integration of visual, tactile, and (...) proprioceptive information in an unusual illusory context. Individuals with higher ASD-like traits showed reduced effects of the rubber-hand illusion on perceived arm position and reach-to-grasp movements, compared to individuals with lower ASD-like traits. These differences occurred despite both groups reporting the typical subjective experience of the illusion concerning visuotactile integration and ownership for the rubber hand. Together these results suggest that the integration of proprioceptive information with cues for arm position derived from the illusory context differs between individuals partly in relation to traits associated with ASD. We suggest that the observed differences in sensory integration can be best explained in terms of differing expectations regarding the precision of sensory estimates in contexts that suggest uncertainty. (shrink)

Animal ethicists have recently debated the ethical questions raised by disenhancing animals to improve their welfare. Here, we focus on the particular case of breeding hens for commercial egg-laying systems to become blind, in order to benefit their welfare. Many people find breeding blind hens intuitively repellent, yet ‘welfare-only’ positions appear to be committed to endorsing this possibility if it produces welfare gains. We call this the ‘Blind Hens’ Challenge’. In this paper, we argue that there are both empirical and (...) theoretical reasons why even those adopting ‘welfare-only’ views should be concerned about breeding blind hens. But we also argue that alternative views, which (for example) claim that it is important to respect the telos or rights of an animal, do not offer a more convincing solution to questions raised by the possibility of disenhancing animals for their own benefit. (shrink)

This chapter introduces ans discusses different views concerning our duties towards animals. First, we explain why we should engage in reasoning about animal ethics, rather than relying on intuitions or feelings alone. Secondly, we present and discuss five different kinds of views about the nature of our duties to animals. These are: contractarianism, utilitarianism, animal rights views, contextual views and what we call a "respect for nature" view. Finally, we briefly consider whether it is possible to combine elements from the (...) views presented, and how to make up one’s mind. (shrink)

This paper explores ethical issues raised by the application of non-surgical, pharmaceutical fertility control to manage reproductive behaviors in domesticated and wild animal species. We focus on methods that interfere with the effects of GnRH, making animals infertile and significantly suppressing sexual behavior in both sexes. The paper is anchored by considering ethical issues raised by four diverse cases: the use of pharmaceutical fertility control in male slaughter pigs, domesticated stallions and mares, male companion dogs and female white-tailed deer. Ethical (...) concerns explored include animals’ welfare, the possible violation of animals’ rights, including rights to life, reproduction and bodily integrity; and potential concerns about loss of wildness. We compare ethical concerns about pharmaceutical fertility control with alternative strategies for managing animals’ reproductive behavior including spaying and neutering, sex separation, sex sorting, culling, and doing nothing. The paper concludes that there are some cases where pharmaceutical fertility control is the best ethical choice in current circumstances; but that there are other cases where alternative choices, including doing nothing, would be ethically preferable. This suggests that in ethical terms a case-by-case approach should be taken to the use of pharmaceutical fertility control in animals. (shrink)

This volume contains a selection of essays in translation by the German philosopher and man of letters Ernst Bloch, on the philosophy of music. For Bloch - often simply assimilated to the Marxist tradition, but whose thought shows a strongly individual and idealist cast - music was a primary focus on reflection. His musical knowledge and expertise were of a very high order and he was well acquainted with many of the leading composers and theorists of music of his time (...) in Germany: even divorced from his philosophy his criticism remains of value and significance. Throughout, whether discussing the complex and varied relations between text and music, or questions relating to the 'expressive' as opposed to the 'descriptive' functions of music, Bloch is intent on elucidating and placing musical experience. (shrink)

How must we and the world be constituted if science is possible? René Descartes had some ideas: For example, he wrote in 1639 to Marin Mersenne, “The imagination, which is the part of the mind that most helps mathematics, is more of a hindrance than a help in metaphysical speculation.” In another missive he suggested that, “besides [local] memory, which depends on the body, I believe there is also another one, entirely intellectual, which depends on the soul alone” (pp. 59, (...) 52). Peter Schouls marshals brief passages such as these alongside discussions of Descartes’ major works to sketch a partial portrait of the human being and the universe. Schouls touches on both metaphysics and cognition, asking how things must be arranged to allow Descartes’ famous method to be mobilized. His conclusions run as follows. First, what should come as no surprise, Descartes “insists on a thoroughgoing dualism that allows him to characterize human beings as essentially free and to characterize nature as causally determined.” (44) Second, Schouls develops from Descartes’ cues a theory of cognition that allows for the pursuit of science by the exploitation of that free human creativity. ). Third, Schouls brings the previous points into full development with a speculative discussion of intellectual argument and scientific method. (shrink)

In this article, Palmer provides a clear survey of positions on killing domestic animals in animal shelters. She argues that there are three ways of understanding the killing that occurs in animal shelters: consequentialism, rights based, and relation based. She considers the relationship of humans and domesticated animals that leads to their killing in animal shelters as well as providing an ethical assessment of the practice.

What did Descartes regard as subject to doubt, and what was beyond doubt, in the Meditations? A review of the Objections and Descartes' reactions in the Replies provides some useful clarification, but viewing Descartes' method of doubt in conjunction with his professed theory of knowledge in the Rules for the Direction of the Mind further elucidates his own understanding of the project. In the Rules, Descartes introduces the mind's intuition of "simple natures" as the atomistic basis of all knowledge, its (...) form as well as its content. The simple natures, Descartes claims, can only be understood thoroughly, and I argue that Descartes' doubt in the  Meditations appears not to include doubt of simple natures. A related attempt to link the earlier work to the Meditations by Peter Schouls is considered and criticized; I suggest as an alternative that there are three classes of objects pertaining to the construction of knowledge in the Meditations: a) first principles and concepts that are constituents of other knowledge, intuited and not doubted, nor called 'knowledge' by Descartes; b) what Descartes calls clearly and distinctly perceived knowledge that survives doubt, known through a kind of intuition; and c) science, as remembered collections of clearly and distinctly perceived knowledge. Finally, because the two works do have important dissimilarities, I also consider how differences between the Rules and the Meditations might affect the applicability of the simple natures to the arguments of the Meditations, especially in the light of clues found in the intellectual autobiography of the Discourse on Method. (shrink)

Palmer demarcates the bounds of our understanding of color experience by symmetries in the color space. He claims that if there are symmetries, there can be functionally undetectable color transformations. However, even if there are symmetries, Palmer's support for the possibility of undetectable transformations assumes phenomenal internalism. Alternatively, phenomenal externalism eliminates Palmer's limit on our understanding of color experience.

Invited contributions were asked for statements of how they came to be acquainted with Wittgenstein’s work, the influence it had on their own work, and how they see Wittgenstein in relation to prevalent trends in contemporary philosophy. The weight given to the various elements in the invitation was left to the discretion of the contributors. Contributions have also been included from the Rush Rhees and Peter Winch archives. Articles by: Stanley Cavell, James Conant, Cora Diamond, İlham Dilman, P.M.S. Hacker, (...) B.F. McGuinness, Anthony Palmer, D.Z. Phillips, Rush Rhees, Joachim Schulte, Eike von Savigny, Georg Henrik von Wright, and Peter Winch. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept of virtuosity (...) which plays so prominent a role in historical, critical, and theoretical discussions of artistic performance.”1 The book is not an easy read, however, because of Howard’s customarily esoteric vocabulary. While the writing is in fine style, there are too many occasions where the reader may be hampered by having to pause to reconsider what was stated, especially in some of the longer sentences, or because a dictionary consultation is warranted.Nevertheless, this is a must-read for voice and instrumental students and their teachers, coaches, and accompanists. Moreover, this book is a must-read for anyone working with performing artists; Howard covers the performance arts broadly, including theatre and dance as well. If you only surmise what virtuosity is, you will become intimately aware of its meaning and all its ramifications.Its casual use suggests that virtuosity can be found everywhere, from auto mechanics to baristas and even include, as Howard describes, cheetahs on the hunt and the kill. And although the cheetah is perfectly suited to find food to feed her [End Page 101] cubs, the intentional development of techniques and a conscious plan to attack her prey is questionable; she acts out of instinct. We can admire various manifestations of excellence, but their qualities do not measure up to the characteristics of virtuosity. Excellence in execution is not by such virtue virtuosic.The fact is performance in the arts requires a special understanding of virtuosity that must be narrowly applied under appropriate conditions. The ten chapters comprising the book deal with every facet of virtuosity in performance and clarify the issues forcefully and accurately. Charm and Speed is a brief treatise of only 134 pages, plus notes and a 3-page appendix. But in those chapters lie explanations to which most professional performers, teachers, and subsidiary personnel may need to give serious consideration. On the other end of the spectrum, for those who may require a less than keenly argued thesis, how much does one really need to know about virtuosity to enjoy fine, but lesser, performance? Some differences do need to be noted, however, and confusing virtuosity with other artistic appellations could be eliminated.At the outset, virtuosity can easily be confused with creativity, but the latter is more general while “a judgment of virtuosity is necessarily grounded in the observables of execution.”2 Howard’s outline of the conditions of virtuosity is carried throughout the discussion. Three parts comprise any consideration: 1) the performing individual or group “inclusive of training and manifest talent,” judged by experts; 2) the domain of the performance—acting, dancing, and playing the violin—must be specified; and 3) the audience comprised of a general audience and “critics, colleagues, and institutions” must render appropriate judgment.3 Virtuosity is not a single state but requires both process and achievement.Howard narrows his discussion on virtuosity to those in the performing arts, “to those who play instruments, or sing or act, dance or conduct,”4 with no other reason or intention but to render the artwork with unique interpretations at the highest level possible. Howard restricts discourse to allographic5 works in the Western tradition, an important distinction that I had considered questionable at first, but came to realize that virtuosity considered on a wider scale could be overly complicated. My experience with Japanese performing art, for example, would have to examine, Nô, Bunraku, Kabuki theatre, and traditional vocal and instrumental performance, among other things, all quite complex in their own right. Can a puppet in Bunraku be a virtuoso, or would it be the puppeteer? Further, Korean art forms such as pansori and African arts, where some cultures are communal rather than performed by superb practitioners, would all have to be considered. When the whole world is examined... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept of virtuosity (...) which plays so prominent a role in historical, critical, and theoretical discussions of artistic performance.”1 The book is not an easy read, however, because of Howard’s customarily esoteric vocabulary. While the writing is in fine style, there are too many occasions where the reader may be hampered by having to pause to reconsider what was stated, especially in some of the longer sentences, or because a dictionary consultation is warranted.Nevertheless, this is a must-read for voice and instrumental students and their teachers, coaches, and accompanists. Moreover, this book is a must-read for anyone working with performing artists; Howard covers the performance arts broadly, including theatre and dance as well. If you only surmise what virtuosity is, you will become intimately aware of its meaning and all its ramifications.Its casual use suggests that virtuosity can be found everywhere, from auto mechanics to baristas and even include, as Howard describes, cheetahs on the hunt and the kill. And although the cheetah is perfectly suited to find food to feed her [End Page 101] cubs, the intentional development of techniques and a conscious plan to attack her prey is questionable; she acts out of instinct. We can admire various manifestations of excellence, but their qualities do not measure up to the characteristics of virtuosity. Excellence in execution is not by such virtue virtuosic.The fact is performance in the arts requires a special understanding of virtuosity that must be narrowly applied under appropriate conditions. The ten chapters comprising the book deal with every facet of virtuosity in performance and clarify the issues forcefully and accurately. Charm and Speed is a brief treatise of only 134 pages, plus notes and a 3-page appendix. But in those chapters lie explanations to which most professional performers, teachers, and subsidiary personnel may need to give serious consideration. On the other end of the spectrum, for those who may require a less than keenly argued thesis, how much does one really need to know about virtuosity to enjoy fine, but lesser, performance? Some differences do need to be noted, however, and confusing virtuosity with other artistic appellations could be eliminated.At the outset, virtuosity can easily be confused with creativity, but the latter is more general while “a judgment of virtuosity is necessarily grounded in the observables of execution.”2 Howard’s outline of the conditions of virtuosity is carried throughout the discussion. Three parts comprise any consideration: 1) the performing individual or group “inclusive of training and manifest talent,” judged by experts; 2) the domain of the performance—acting, dancing, and playing the violin—must be specified; and 3) the audience comprised of a general audience and “critics, colleagues, and institutions” must render appropriate judgment.3 Virtuosity is not a single state but requires both process and achievement.Howard narrows his discussion on virtuosity to those in the performing arts, “to those who play instruments, or sing or act, dance or conduct,”4 with no other reason or intention but to render the artwork with unique interpretations at the highest level possible. Howard restricts discourse to allographic5 works in the Western tradition, an important distinction that I had considered questionable at first, but came to realize that virtuosity considered on a wider scale could be overly complicated. My experience with Japanese performing art, for example, would have to examine, Nô, Bunraku, Kabuki theatre, and traditional vocal and instrumental performance, among other things, all quite complex in their own right. Can a puppet in Bunraku be a virtuoso, or would it be the puppeteer? Further, Korean art forms such as pansori and African arts, where some cultures are communal rather than performed by superb practitioners, would all have to be considered. When the whole world is examined... (shrink)

This article first builds upon precedent work--including that of John M. Werner, Kerry S. Walters, and James Dye-to articulate a more complete understanding of David Hume's influence upon North American colonial and early U.S. thought. Secondly, through a comparison with arguments concerning miracles developed by early American deists Elihu Palmer, Ethan Allen, and Thomas Paine, the article clarifies and evaluates Hume's arguments against the rationality of belief in miracles. It judges Hume's arguments to be superior. Thirdly, the article uses (...) this comparison and evaluation to describe the nature of Humean skepticism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Spirituality":"Weasel-Word" or Gateway to New Understanding?Peter Gilbert (bio)Keywordsspirituality, faith communities, NIMHEVisiting the Samuel Palmer Exhibition at the British Museum, I was struck, not only by the spiritual power of the paintings, especially in the late Shoreham period such as, my favorite: The Magic Apple Tree (circa 1830)—but how Palmer appeared to bring both Christian and Pantheistic themes into his work. The museum's exhibition collator remarks that (...) Palmer saw the fruitfulness of the earth as an intimation of Divine creativity. The artist sought to capture "The essential vivifying spirit, vital spark" (Palmer's words) of the physical world in which we live.I was reminded as I moved from The Magic Apple Tree, to In a Shoreham Garden, and The Golden Valley, how these paintings had been used by a record company when they had issued all of Ralph Vaughan Williams' orchestral and choral works in the 1970s, to mark his anniversary. Vaughan Williams was not a signed up Christian, but many of his choral works express a strong yearning for the transcendent using Christian imagery. The day before I visited the Palmer exhibition, I listened to Professor Robert Winston on Start the Week (28th November, 2005), in which he spoke of his BBC series The Story of God (Winston, 2005). As a scientist, Winston is intrigued as to why humans seek the transcendent. He continually refers to this desired other as "God," although I think it would be more accurate to call it a search for the transcendent. Winston puzzles over why there appears to be "a God-shaped hole" within humanity (Start the Week, November, 28, 2005), and again, as a scientist, postulates that: "the more we understand about science, the less we understand about the Universe."In the light of the most popular films and books at present, the search for something beyond ourselves appears to be very much at the center, rather than at the periphery of humanity's consciousness at the present time. Reading Philip Pullman's His Dark Materials trilogy, and reading his various essays, we are struck by his articulation of the human search:We need a story, a myth that does what the traditional religious stories did. It must explain. It must satisfy our hunger for a Why... There are two kinds of Why, and our story must deal with both. There's the one that asks What brought us here? and the other that asks What are we here for?(Pullman, 2001)The author's article is very helpful in its practical approach to psychotherapy and spirituality. I particularly liked her reference to the work of Charles Corr (1991) and his work with people [End Page 197] who are dying and considering the physical, psychological, social, and spiritual aspects of the last days. The spiritual aspects being around identifying, developing, or reaffirming spiritual sources of energy and hope. This is the kind of approach that the National Institute for Mental Health in England (NIMHE) national Project on Spirituality and Mental Health has been engaged in since 2001, the approach being to stress the spiritual dimension as an integral part of a whole person and whole systems approach to mental health; work with mental health services and their partners to engage with this agenda; and work toward a better understanding between faith communities and mental health services (see Gilbert and Nicholls, 2003). Service users and their carers are increasingly stating strongly to services that they wish to have their spiritual dimension and spiritual needs addressed properly—and certainly not in a "tick-box" method! The author quotes Samson and Zerter (2003) as saying that the person's spiritual dimension "draws a thread of identity, relationship, meaning and purpose, which weave through each of these aspects" (i.e. the life events and other aspects of their being).I welcome the author's stress on a "relational approach," and her breadth of reference, for example, the diary of Marcus Aurelius, the Roman emperor and philosopher, but I had some concerns about her use of the term personal theology, and talk of the personal aspect of religion and "the Divine," in that I think that this could... (shrink)

This book is the first of two volumes devoted to the implications of hermeneutics for literary study. Because many of the major texts required for both the definition of the term ‘hermeneutics’ and an understanding of its development remain untranslated, Palmer uses most of the present volume for exposition while reserving the task of applications in literary criticism for his second volume. The specific aim here is ‘… to lay the philosophical foundation for exploring the significance of hermeneutics for (...) literary understanding’, to write ‘… a philosophical introduction to hermeneutics which can at the same time serve as the foundation for a second volume discussing hermeneutics in relation to literary theory’. And the thesis reads: ‘In German hermeneutics theory can be found the philosophical foundation for a radically more comprehensive understanding of the problems in literary interpretation’. (shrink)

This reissue of his collection of early essays, Logico-Linguistic Papers, is published with a brand new introduction by Professor Strawson but, apart from minor ...

During a clinical ethics fellow’s first week of independent supervised service, two unhoused patients on the same floor were resisting the medical team’s recommendations to discharge. In the team’s view, both were medically stable and no longer required hospitalization in an acute setting. The medical team suspected malingering for both. The social worker and case manager had employed their usual means of gentle persuasion and eliminating psychosocial barriers to no avail. Rather than call the police, the attending physician, social worker, (...) and case manager decided to call ethics. These cases lead the fledgling fellow to consider the appropriate role for ethicists in difficult discharge cases. The article analyzes each case, evaluates their similarities and differences in the context of suspected malingering, and comments on ethical issues surrounding cases of suspected malingering. Finally, I reflect on the value and importance of developing and maintaining epistemic and professional independence. (shrink)

There is increased recognition of a common suite of global challenges that hamper food system sustainability at the community scale. Food price volatility, shortages of basic commodities, increased global rates of obesity and non-communicable food-related diseases, and land grabbing are among the impediments to socially just, economically robust, ecologically regenerative and politically inclusive food systems. While international political initiatives taken in response to these challenges and the groundswell of local alternatives emerging in response to challenges are well documented, more attention (...) is needed to the analysis of similarities between community approaches to global pressures. While we are not suggesting the application of a template set of good practices, the research reported in this paper point to the benefits of both sharing good practices and enabling communities to adopt good practices that are suited to their place-based capacities. The work also suggests that sharing community-derived good practices can support and reinforce global networks of sustainable community food systems, foster knowledge co-creation and ultimately cement collective action to global pressures. In turn these networks could enhance the sustainability and resilience of community food systems and facilitate wide scale food system transformation. (shrink)

A complete system of classical Aristotelian logic intended for honors high school and college.

Ohne Rücksicht auf disziplinäre Schranken bringt dieses Buch verschiedene nicht-reduktionistische Lerntheorien miteinander ins Gespräch. In einem offenen Diskurs, der die Konzepte zueinander in Beziehung setzt, werden die unterschiedlichen Perspektiven kritisch abgewogen und hinsichtlich ihrer Stärken und Schwächen diskutiert.

Delo se loteva vprašanja aktualnosti pojma subjekta v filozofiji in politiki skozi analizo tistih avtorjev, ki so ga domnevno najbolj radikalno pokopali: pokaže, da vznik radikalno novega in problematika subjekta zavzema osrednje mesto v Deleuzovi filozofiji, kakor tudi v Lyotardovi pozni misli posvečeni praznini, v Foucaultovi obravnavi biopolitike in biooblasti, v delu Negrija in Hardta o Imperiju, ter nazadnje v Badioujevi predelavi temeljnih filozofskih kategorij biti, resnice in subjekta, na osnovi katerih je dandanes znova možna renesansa filozofije. Ta ima po (...) Badiouju štiri razsežnosti, ki se v delu Vznik subjekta nenehno prepletajo: »V osnovi želja filozofije implicira razsežnost upora: ni filozofije brez nezadovoljstva mišljenja v njegovem soočenju s svetom, kakršen je. Pa vendar želja filozofije vključuje tudi logiko: to je, prepričanje v moč argumenta in uma.«. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Motion and Mercutio in Romeo and JulietDaryl W. PalmerThere is nothing permanent that is not true, what can be true that is uncertaine? How can that be certaine, that stands upon uncertain grounds? 1It is by now a commonplace in modern scholarship that drama, particularly Tudor drama, poses questions, rehearses familiar debates, and even speculates about mere possibilities. 2 In 1954, Madeleine Doran spelled out some of the ways (...) in which debate "affected the structure of Elizabethan drama." 3 In turn, Joel B. Altman, having eloquently extended Doran's examination, concludes that "the plays functioned as media of intellectual and emotional exploration for minds that were accustomed to examine the many sides of a given theme, to entertain opposing ideals, and by so exercising the understanding, to move toward some fuller apprehension of truth that could be discerned only through the total action of the drama." 4 Altman points to Henry Medwall's Fulgens and Lucres (c. 1490) as an exemplar of this practice. Although the interlude instructs and entertains, "the center of interest has shifted from demonstration to inquiry. The action develops not from an abstract assertion, but from a specific question: who is the nobler man, Cornelius or Gaius?" 5 By the time William Shakespeare began to write his plays, inquiry was an essential part of dramatic construction. So Juliet asks, "What's in a name?" 6 Hamlet opens with the question: "Who's [End Page 540] there?" (1.1.1), and achieves a kind of apotheosis in the figure of its hero: "To be, or not to be, that is the question..." (3.1.55). Everyone recognizes these familiar questions, and we know (or think we know) how to describe the most viable answers. I want to suggest, however, that this familiarity has dulled our appreciation of the drama's interrogative range. As a way of resisting this tendency, I want to argue that Shakespeare's Romeo and Juliet takes up an ancient conversation about motion, a dialog that originates with the pre-Socratics. This is not to say that the play is ultimately about motion. It obviously engages a panoply of thematic materials. I have simply chosen, in this limited space, to concentrate on the way the playwright stages his questioning as a kind of fencing lesson. My goal is to produce neither a "reading" of the play nor an allegory of philosophy, but rather to recollect the ways in which Shakespeare's drama qualifies and extends an ancient interrogative tradition. In so doing, I follow Stanley Cavell who maintains "that Shakespeare could not be who he is—the burden of the name of the greatest writer in the language, the creature of the greatest ordering of English—unless his writing is engaging the depth of the philosophical preoccupations of his culture." 7Some of the most venerable documents of Western philosophy fix on the problem of motion. If we go back more than 2,300 years, we come upon Plato's Theaetetus, in which Socrates explains a "first principle" to the title character, namely that "the universe really is motion and nothing else." 8 A kind of history lesson in ontology and epistemology, this tentative explanation has its origins in Heraclitus or Empedocles or Protagoras or some combination of the aforementioned. Perhaps the most famous expression of this ideal comes from Heraclitus: "You cannot step twice into the same river, for other waters and yet others go ever flowing on." 9 More to the point is the following declaration from the same philosopher: "Everything flows and nothing abides; everything gives way and nothing stays fixed." 10 In this spirit, Protagoras declares, "All matter is in a state of flux." 11 Such precedents provide the backdrop for Socrates in the Theaetetus as he summarizes: "The point is that all these things are, as we were saying, in motion, but there is a quickness or slowness in their motion" (Thea, 156c). In this historical spirit, he identifies "a tradition from the ancients, who hid their meaning from the common herd in poetical figures, that Oceanus and Tethys, the source of all things, are flowing streams and nothing is at rest" (Thea, 180d–e).To... (shrink)