Margolis’ philosophical thought and career is framed by the pragmatism that dominated his early education and his vision of a “resurgent” pragmatism as the most promising direction for an increasingly eclectic Western philosophical tradition. This version of pragmatism is based on Peirce’s formulation of the pragmatic maxim, but Margolis sees the implications of that maxim as running counter to a central strand of Peirce’s own thought: fallibilism as an infinitist, self-correcting process of inquiry asymptotically tending toward to truth and reality. (...) Margolis argues that this version of fallibilism is untenable and un-pragmatic, and his most mature work on the subject identifies an “abductive turn” in Peirce’s philosophy which points in the direction of an improved pragmatism, a pragmatism that is anarchic, relativistic, cast in terms of tolerances instead of laws, and without “Hope” in Peirce’s sense. (shrink)

In this study of the main conceptual and normative issues to which the education of the adult gives rise, the author demonstrates that these issues can be understood and resolved only by coming to grips with some of the central and most contentious questions in epistemology, philosophy of mind, ethics, and social philosophy. A salient feature of the book is its searching examination of the different types of value judgement by which all educational discourse is permeated. The analysis of (...) the nature and justification of educational judgements forms the basis of an overall philosophy of adult education which should provide a much needed axiological framework for the guidance of practitioners in this growing area of educational concern. (shrink)

Leonhard Euler was the leading eighteenth-century critic of Isaac Newton's projectile theory of light. Euler's main criticisms of Newton's views are surveyed, and also his alternative account according to which light is a wave motion propagated through the aether. Important changes are identified as having occurred between 1744 and 1746 in Euler's thinking about the way in which a wave such as he supposed light to be is propagated through a medium. Paradoxically, in view of Euler's overtly anti-Newtonian stand, (...) these amount to Euler abandoning his early, Malebranchian notions about the physical basis of wave propagation, in favour of the ideas set out by Newton in Book II of his Principia. (shrink)

Valerius Flacgus has few readers and still fewer admirers, even among classical specialists. Most of us, if we want to refresh our memories of Hylas, will turn to Theocritus' thirteenth Idyll or perhaps to Propertius' statuesque version. Apollonius Rhodius is read mainly in his third book, so that his Hylas story at the end of the first is ignored, and Valerius Flaccus is hardly read at all. In the year 1894 W. C. Summers in A Study of the Argonautica of (...) Valerius Flaccus called for a fair reappraisal of the much-neglected poet. The works of the few scholars who have since attempted a literary assessment lie, for the most part, obscurely stored in the stacks of those Teutonic universities that awarded them a Ph.D. (shrink)

A scholarly and superbly done history of formal logic, devoted mainly to four movements: the Greek; the scholastic; modern mathematical logic; and Indian Logic. Father Bochenski makes extensive use of direct quotation--in German translation by himself, when the original language is not German. The translations are sound, the documentation precise, and the organization lucid. The treatment is balanced and unified; the selection of passages to be quoted is judicious. All in all, a masterly work. Criticism will probably focus more on (...) his views of the relation of formal logic to philosophical logic, than on the factual accuracy of his account.--R. W. (shrink)

After describing the three main kinds of probability theories, the author presents a new logical theory of probability. Probability, for him, is a logical relation between bodies of evidence and statements. The theory is an advance over Carnap's logical theory of probability in that it is not based on a formal language with strong completeness properties. The theory is formalized in Quine's protosyntax, which has two disadvantages: first, long formulas couched in terms of a large number of defined symbols (...) disfigure the book and obscure the exposition; and secondly, it is desirable to keep our theories of inductive logic and deductive logic independent. There seems to be no reason to burden one sort of theory with the other. There is no index.--J. R. W. (shrink)

This paper examines the crisis in the nursing profession in Western industrial societies in the light of Max Weber's theory of rationalisation. The domination of instrumental rational action in modern industrial societies in evident in the field of modern medicine. The burgeoning mechanistic approach to the human body and health makes modern health care services increasingly devoid of human values. Although the nursing profession has been influenced by various changes that took place in health care during the last few decades (...) (for example greater reliance on technology), the underlying values of the nursing profession still emphasise a broad definition of the well-being of patients. Hence, in recent years the irrational consequences of growing technological medicine in North America has resulted in a serious crisis in the nursing profession. To resolve this crisis the authors propose a reorganisation of modern health care services on the basis of a new paradigm which is compatible with both the health care needs of the people and the main emphasis in education and training of the nursing profession. (shrink)

Background: Clinical ethics support instruments aim to support healthcare professionals in dealing with moral challenges in clinical practice. CURA is a relatively new instrument tailored to the wishes and needs of healthcare professionals in palliative care, especially nurses. It aims to foster their moral resilience and moral competences. Aim: To investigate the effects of using CURA on healthcare professionals regarding their Moral Resilience and Moral Competences. Design: Single group pre-/post-test design with two questionnaires. Methods: Questionnaires used were the Rushton Moral (...) Resilience Scale measuring Moral Resilience and the Euro-MCD, measuring Moral Competences. Respondents mainly consisted of nurses and nurse assistants who used CURA in daily practice. Forty-seven respondents contributed to both pre- and post-test with 18 months between both tests. Analysis was done using descriptive statistics and Wilcoxon signed rank tests. This study followed the SQUIRE checklist. Ethical considerations: This study was approved by the Institutional Review Board of Amsterdam UMC. Informed consent was obtained from all respondents. Results: The total Moral Resilience score and the scores of two subscales of the RMRS, that is, Responses to Moral Adversity and Relational Integrity, increased significantly. All subscales of the Euro-MCD increased significantly at posttest. Using CURA more often did not lead to significant higher scores on most (sub) scales. Conclusion: This study indicates that CURA can be used to foster moral resilience and moral competences of healthcare professionals. CURA therefore is a promising instrument to support healthcare professionals in dealing with moral challenges in everyday practice. (shrink)

In this article, an ethical analysis of an educational programme on renal replacement therapy options for patients and their social network is presented. The two main spearheads of this approach are: (1) offering an educational programme on all renal replacement therapy options ahead of treatment requirement and (2) a home-based approach involving the family and friends of the patient. Arguments are offered for the ethical justification of this approach by considering the viewpoint of the various stakeholders involved. Finally, reflecting (...) on these ethical considerations, essential conditions for carrying out such a programme are outlined. The goal is to develop an ethically justified and responsible educational programme. (shrink)

This is a protocol for a Cochrane Review (Intervention). The objectives are as follows: -/- The main aim of this review will be to assess the effects of changing practitioner empathy or patient expectations for all conditions. The main objective is to conduct a systematic review of randomised trials where the intervention involves manipulating either (a) practitioner empathy or (b) patient expectations, or (c) both.

Toward A Sociological Imagination builds on the ideas C. Wright Mills expressed in The Sociological Imagination for an approach to the scientific method broad enough to open up to the full range of knowledge within the sociology discipline. In this book, nine sociologists and one philosopher provide detailed tests of the utility of the approach within diverse substantive sociological areas.

The paper „F. W. Bessel and Russian science by K. K. Lavrinovich published in NTM-Schriftenreihe contains several errors coming mainly from re-translations of German names and texts from Russian into German. The correct spelling of names and original texts are given here. Beside this, some additional information from sources not mentioned by the author is presented, and the kind of relationship between Bessel and W. Struve is discussed on the basis of their correspondence.

The guiding idea of Palágyi's Monism is what he has called the Principle of Polarity. This is made clear in Palágyi's own preface to the second edition of his main work, the Naturphilosophische Vorlesungen. The lectures were originally given in 1908. The Second Edition and the Preface date from 1924. In this preface we learn that the quest for the creative on the one hand, and for unity through polarity on the other, were ever the two leading motives of (...) his thought. Both are pervasive and permanent, and they support each other; but in so far as the intellectual urge towards unity prevails over the more artistic impulse to creative freedom, it is the principle of polarity that receives the main stress and exercises the greater influence. For Palágyi, as for Hegel, it is the main principle of mental evolution. “ Polarity,” so Palágyi tells us, does not simply mean “ opposition,” the. (shrink)

The product of the seventh symposium of New York University's Institute of Philosophy, this volume centers on three topics: grounds for judgment of artistic excellence, interpretation of meaning in art criticism, and art and reality. Each of the three sections features a lead paper, followed by a series of comments. Issues raised by the main papers are quite thoroughly explored, but sometimes one wishes that provocative suggestions made in commentary were taken up by other participants.—R. J. W.

The editor attempts to give unity to this anthology by a humanistic orientation, i.e., by labeling the main sections "Man and Philosophy," "Man and Nature," "Man and His Fellow Men," etc. Although this is largely a terminological device, it does have the result that the book does not try to cover the entire philosophical map. The essays are chosen to represent types of thought, and a number of philosophers not often represented in such anthologies are included.—R. J. W.

The ethics of tax evasion has been discussed sporadically in the theological and philosophical literature for at least 500 years. Martin Crowe wrote a doctoral thesis that reviewed much of that literature in 1944. The debate revolved around about 15 issues. Over the centuries, three main views evolved on the topic. But the business ethics literature has paid scant attention to this issue, perhaps because of the belief that tax evasion is always unethical. This paper reports the results of (...) an empirical study of opinion in Utah and Florida. A survey of accounting students was conducted to determine the extent of their agreement or disagreement with the 15 main issues that Crowe (1944) identified plus three more recent issues. The arguments that have been made over the centuries to justify tax evasion were ranked to determine which arguments are strongest and which are weakest. Scores were compared between samples to determine whether the responses were significantly different. (shrink)

The ethics of tax evasion has been discussed sporadically in the theological and philosophical literature for at least 500 years. Martin Crowe wrote a doctoral thesis that reviewed much of that literature in 1944. The debate revolved around about 15 issues. Over the centuries, three main views evolved on the topic. But the business ethics literature has paid scant attention to this issue, perhaps because of the belief that tax evasion is always unethical. This paper reports the results of (...) an empirical study of opinion in Utah and New Jersey. A survey of business students was conducted to determine the extent of their agreement or disagreement with the 15 main issues that Crowe (1944) identified plus three more recent issues. The arguments that have been made over the centuries to justify tax evasion were ranked to determine which arguments are strongest and which are weakest. Scores were compared between samples to determine whether the responses were significantly different. (shrink)

Almost uniquely for someone whose thought has been so influential, Socrates wrote nothing himself, and our knowledge of his philosophical opinions and method is derived mainly from the engaging and infuriating figure who appears in Plato's dialogues. The philosophy of Socrates and Plato is therefore closely interconnected, and the most powerful elements of Plato's mature thought form the basis of an interpretation of knowledge, reality, and morality which is still held and debated by philosophers today. Aristotle's approach to these and (...) other issues is in many ways directly opposed to that of Plato, and has been no less influential. (shrink)

A special issue on ‘Private Autonomy and Public Paternalism’ constitutes the first part of this issue. Guest-editors are Annette Dufner and Michael Kühler, both from the University of Munster, Germany. It is often assumed that personal autonomy is a ‘private’ matter in the sense that it is based primarily on a person’s subjective characteristics and capabilities. At the same time, the literature mainly deals with paternalism as a problem of the ‘public’ sphere, for example by focusing on the dangers that (...) threaten the autonomy of individuals as citizens, such as state paternalism. However, it is widely acknowledged nowadays that personal autonomy can only develop and flourish if conditions in the social and relational sphere are favourable, which means that personal autonomy is not so private after all. At the same time, it should be clear that paternalism not only relates to our behaviour in the public sphere, but also to how we behave in more private social spheres, like family, frien. (shrink)

A special issue on ‘Private Autonomy and Public Paternalism’ constitutes the first part of this issue. Guest-editors are Annette Dufner and Michael Kühler, both from the University of Munster, Germany. It is often assumed that personal autonomy is a ‘private’ matter in the sense that it is based primarily on a person’s subjective characteristics and capabilities. At the same time, the literature mainly deals with paternalism as a problem of the ‘public’ sphere, for example by focusing on the dangers that (...) threaten the autonomy of individuals as citizens, such as state paternalism. However, it is widely acknowledged nowadays that personal autonomy can only develop and flourish if conditions in the social and relational sphere are favourable, which means that personal autonomy is not so private after all. At the same time, it should be clear that paternalism not only relates to our behaviour in the public sphere, but also to how we behave in more private social spheres, like family, frien. (shrink)

We distinguish scanning switches, which only enumerate states, from function switches which transform input states into output states. For the latter we introduce a logical network symbolism. Our history of early computer switching begins with the suggestions of Ramon Lull and Gottfried Leibniz, surveys the evolution of mechanical scanning switches and the first mechanical function switches, and then describes the first electromechanical function switches. The main themes of the present paper are that William S. Jevons built the first substantial (...) function switch (his logical piano), and that his work led to the design by Allan Marquand of the first substantial electromechanical function switch, as well as to Charles S. Peirce's idea for an electrical general-purpose programmable computer. These events all occurred fifty years before the first general-purpose programmable computers were constructed (in the 1940's), but they had no influence. (shrink)

We distinguish scanning switches, which only enumerate states, from function switches which transform input states into output states. For the latter we introduce a logical network symbolism. Our history of early computer switching begins with the suggestions of Ramon Lull and Gottfried Leibniz, surveys the evolution of mechanical scanning switches and the first mechanical function switches, and then describes the first electromechanical function switches. The main themes of the present paper are that William S. Jevons built the first substantial (...) function switch (his logical piano), and that his work led to the design by Allan Marquand of the first substantial electromechanical function switch, as well as to Charles S. Peirce's idea for an electrical general-purpose programmable computer. These events all occurred fifty years before the first general-purpose programmable computers were constructed (in the 1940's), but they had no influence. (shrink)

Philosophers of technology from socialistic and western countries met begin June 1986 at Veszprém, Hungary, to discuss problems of their field arising from largely analogous situations concerning the impact of technology on society. The report gives the main theses of the invited lectures and sums up some topics on which all participants agreed during the open minded discussions.

Until the late twentieth century, there were three main political currents in the Netherlands: Christian, Labor, and Liberal, giving Christian party politics a stronger position than in European countries with a binary division between conservative and progressive. The history of the debate about embryo research coincides with the end of this period. Whereas in the 1980s the Christian Democrat party still had strong religiously motivated views about embryo protection, it has since lost both the power and the drive to (...) pursue this. However, due to strategic opportunities arising in the margin of Dutch coalition politics, smaller parties inspired by Christian belief are still quite influential on issues of medical ethics in the highly fragmented political landscape of the present. (shrink)

Context The attitudes of medical professionals towards physician assisted dying have been widely discussed. Less explored is the level of agreement among physicians on the possibility of ‘rational suicide’—a considered suicide act made by a sound mind and a precondition of assisted dying legislation. Objective To assess attitudes towards rational suicide in a representative sample of senior doctors in England and Wales. Methods A postal survey was conducted of 1000 consultants and general practitioners randomly selected from a commercially available database. (...) The main outcome of interest was level of agreement with a statement about rational suicide. Results The corrected participation rate was 50%; 363 questionnaires were analysed. Overall 72% of doctors agreed with the possibility of rational suicide, 17% disagreed, and 11% were neutral. Doctors who identified themselves as being more religious were more likely to disagree. Some doctors who disagreed with legalisation of physician assisted suicide nevertheless agreed with the concept of rational suicide. Conclusions Most senior doctors in England and Wales feel that rational suicide is possible. There was no association with specialty. Strong religious belief was associated with disagreement, although levels of agreement were still high in people reporting the strongest religious belief. Most doctors who were opposed to physician assisted suicide believed that rational suicide was possible, suggesting that some medical opposition is best explained by other factors such as concerns of assessment and protection of vulnerable patients. (shrink)

The ongoing debate on the ethics of using artificial intelligence (AI) in military contexts has been negatively impacted by the predominant focus on the use of lethal autonomous weapon systems (LAWS) in war. However, AI technologies have a considerably broader scope and present opportunities for decision support optimization across the entire spectrum of the military decision-making process (MDMP). These opportunities cannot be ignored. Instead of mainly focusing on the risks of the use of AI in target engagement, the debate about (...) responsible AI should (i) concern each step in the MDMP, and (ii) take ethical considerations and enhanced performance in military operations into account. A characterization of the debate on responsible AI in the military, considering both machine and human weaknesses and strengths, is provided in this paper. We present inroads into the improvement of the MDMP, and thus military operations, through the use of AI for decision support, taking each quadrant of this characterization into account. (shrink)

Accepting Bullot & Reber's (B&R's) criteria for art appreciation would confine the study of aesthetics to those works for which historical information is available, mainly posthigh art.correct” artistic understanding is limited to experts with detailed knowledge or education in art, which implies a narrowly elitist conception of aesthetics. Scientific aesthetics must be broadly inclusive.

The lexicographic power ΔΓ of chains Δ and Γ is, roughly, the Cartesian power Πγ∈Γ Δ, totally ordered lexicographically from the left. Here the focus is on certain powers in which either Δ = R or Γ = R, with emphasis on when two such powers are isomorphic and on when ΔΓ is 2-homogeneous. The main results are: (1) For a countably infinite ordinal α, Rα* +α ≃ Rα. (2) RR ≄ RQ. (3) For Δ a countable ordinal ≥ (...) 2. ΔR, with its smallest element deleted, is 2-homogeneous. (shrink)

Following the example of the late Professor R. S. Conway, who in the Transactions of the Cambridge Philological Society, vol. v, part i , discussed ‘The Use of the Singular Nos in Cicero's Letters’, I examined Catullus’ employment of the idiom in an article published in Mnemosyne, series iii, vol. vii, fasc. 2 , pp. 148–56. While the usage of Catullus exemplified various of Conway's indisputable types of the singular nos, such as the Plural of Authorship and the Plural of (...) Proprietorship, my observations did not confirm his main thesis of a ‘projective’ use, which L. C. Purser reviewing his rnonograph called ‘a Pluralis Dignitatis or Fiduciae, not to say Adrogantiae’, in direct contrast to the orthodox pluralis modestiae. I found that, where the use of nos related to a state of mind of the writer or speaker, not merely to circumstances of his environment, the usage in Catullus was either a pluralis modestiae or one of several derivative types. My examination of Virgil seems wholly to confirm the conclusions reached concerning Catullus, whose types of singular nos I classified as follows: the Plural of Proprietorship ; the Traveller's Plural ; the Local Plural ; the Plural of Authorship ; the Social and Domestic Plural ; the pluralis modestiae , pp. 87–9); the Plural of Pleading or Requesting; the Plural of Pathos or Self-pity. Of these , , , and are a product of circumstances of environment and relate to a group of which the speaker or writer is a member; , , , and express an attitude or state of mind. Virgil's examples of the usage fall into six of these categories, and being absent. For the purposes of the present study I shall, in order to indicate more clearly the connexion between and , and the subjective character of , number the six Virgilian categories as follows: the Plural of Proprietorship; the Social and Domestic Plural; the Plural of Authorship; the pluralis modestiae; the Plural of Pleading or Requesting; the Plural of Pathos, Self-pity, or Complaint. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Peacebuilding: Catholic Theology, Ethics, and Praxis ed. by Robert J. Schreiter, R. Scott Appleby, Gerard F. PowersJames W. McCarty IIIPeacebuilding: Catholic Theology, Ethics, and Praxis Edited by Robert J. Schreiter, R. Scott Appleby, and Gerard F. Powers Maryknoll, NY: Orbis Books, 2010. 480pp. $27.00Peacebuilding results from a four-year research project sponsored by the Catholic Peacebuilding Network. A wide-ranging and interdisciplinary set of fifteen essays, Peacebuilding not only brings (...) to the fore the unique ways that Roman Catholic theology and practice has contributed to the global work of peacebuilding, but it also makes the case that the Catholic Church needs to develop a more robust theology of peacebuilding to complement and strengthen traditional Catholic approaches to the ethics of war and peace. The two most bold proposals along these lines are Daniel Philpott’s call for a papal encyclical on peacebuilding (92, 120) and Maryann Cusimano Love’s proposal of “just peace” criteria for guiding peacebuilding work in a fashion similar to the way “just war” criteria have guided the conduct of war (82, 425–27).Peacebuilding is organized into two main sections. The first documents and theorizes the work of Catholic actors and organizations in peacebuilding work. In one of the most helpful essays in this section, John Paul Lederach describes how the “ubiquitous presence” of the Catholic Church in a society is, in fact, one of the most unique contributions the Church has to make to global peacebuilding. Lederach uses the phrase “ubiquitous presence” to describe the unique role Catholic “actors” play within the “pyramid approach” to peacebuilding that he develops elsewhere (see Lederach, The Moral Imagination: The Art and Soul of Peacebuilding [New York: Oxford University Press, 2005], 79). Because of its hierarchical structure, the Catholic Church—especially in Catholic-majority countries—has the potential to cultivate peacebuilding allies among different sectors of a society: the elite, “midlevel” actors, and at the grassroots level. Many other peacebuilding actors—politicians, civil society activists, and the historic peace churches, for instance—do not have such a ubiquitous presence. While Lederach has previously emphasized the importance of midlevel actors in peacebuilding, in this essay he argues that the “ubiquitous presence” of the Catholic Church [End Page 213] in a society provides a basis for making connections for peacebuilding work among a range of sectors within a society. Several of the other contributors to this book draw on this observation and demonstrate its usefulness to a variety of settings. In my estimation, this is the most important contribution of the volume.The second section consists of six essays that both expand upon existing Catholic moral theology and make the case that Catholic theology needs to develop a more robust theology of peacebuilding. Here we find a range of arguments—from Robert Schreiter’s proposal for a practical theology of reconciliation and Peter Phan’s outline of a fourfold Catholic understanding of interreligious dialogue to Kenneth Himes’s discussion of the ways peacebuilding theory challenges and complements contemporary Catholic social teaching. Himes, in particular, claims that the current acceptance of a Catholic “presumption against war” requires a more robust Catholic approach to conflict transformation; in making his case, he draws on resonances between contemporary peacebuilding theory and recent reflections on jus post bellum (justice after war) as a new category of just war thinking.As in nearly every edited collection, the quality of the essays in Peacebuilding varies. I found the essays in the first section to be the most stimulating. Not only do they highlight the peacebuilding work the Catholic Church is currently doing around the world, they also ground their proposals for how we should understand and do peacebuilding from a Catholic perspective in relevant historical examples.Indeed, the varied nature of the essays in Peacebuilding is precisely what makes it a valuable resource for both researchers and teachers of peacebuilding. On the one hand, it includes essays that break new ground and move forward our understanding of the unique nature of Catholic peacebuilding. On the other, it includes essays that introduce the topic of peacebuilding to students of religion and ethics. This book, then, serves as an excellent resource for a range... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:82 HISTORY OF PHILOSOPHY PEIRGE'S MARGINALIA IN W. T. HARRIS' Hegel's Logic Among the most eminent philosophers of nineteenth-century America were William Torrey Harris (1835-1909) and Charles Sanders Peirce (18391914 ). The former, by his establishment in 1867 of The Journal of Speculative Philosophy, furnished a starting point for American philosophical maturity. The latter, who contributed to that iournal, has been considered America's greatest logician. It may therefore be (...) of interest to examine Peirce's marginalia in the first edition of Harris' chief work, Hegel's Logic: A Book on the Genesis of the Categories of the Mind (Chicago: S. C. Griggs, 1890). Discovered by the present writer on a New York book-stall, in a cheaply priced, coverless, and water-stained copy, and now in his possession, it bears imprinted on the reverse of the title page: "Harvard University: Philos. Dept. Library. Gift of Mrs. Charles S. Peirce. June 28, 1915." Shortly after Peirce, in depressed circumstances, died on April 19, 1914, the Harvard Philosophy Department acquired from his wife the manuscripts that were published in the Collected Papers.1 Harris' Hegel's Logic, which presumably accompanied that transaction, contains several marginal annotations, mostly in faded ink, in a neat, small hand, similar to that reproduced in the frontispiece to Volume IV of Peirce's Collected Papers. Recalling a notable philosophical conjunction, the markings also reveal aspects of Peirce's character and confirm his complex attitude toward Hegel, crucial to the development of his philosophy. Peirce's shifting view and persistent concern regarding Hegel may be traced in some other remarks. For example, in a letter to Harris dated January 1, 1868, he says, "I admit there is music in the logic of Hegel, but that is all I discover there. ''2 In another letter to Harris, dated May 13, 1868, he indicates his ambivalence: "But as I should draw the line... I should come on the same side as Hegel, because I am idealistic. I do not 1eel very much opposed to Hegel, though I think his main point.s tin his own estimate of importance) are wrong. ''s About 1890, Peirce declared, "I reiect his philosophy in toto, ''~ and about 1896, he accused Hegel of reaching "each category from the last preceding by virtually calling 'next!'-5 Yet, in 1903, he acclaimed Hegel "in some respects the greatest philosopher that ever lived. ''6 And, in the very same year, reviewing another treatment of Hegel's logic, and including a reference to Harris' t Eds. Charles Hartshorne, Paul Weiss,and Arthur Burks (Vols.I-VIII; Cambridge: Harvard University Press, 1958). 2,.C.S. Peirce to W. T. Harris." ed. WallaceNethery, The Personalist,XLIII (19fi2),37. I am indebted to Dr. Nethery for his kindness in letting me see these letters in advanceof publication. sIbid.,40. 4Collected Papers,I, 193. 5 Ibid., I, 246. eIbid., I, 277. NOTES AND DISCUSSIONS 83 treatise, Peirce flatly remarks: "But all these Hegelians--Harris, XVallace, Hibben, Everett, etc.--who dog the steps of their master in almost textual comments, are profoundly unfaithful to the spirit of his philosophy... the Logik now condemns itself. ''7 A constant feature in Peirce's negative attitude toward Hegel concerns the latter's failure to equip himself scientifically to deal with a subject the American considered basically scientific. For instance, about 1899, Peirce writes: Hegel, while regarding scientific men with disdain, has for his chief topic the importance of continuity, which was the very idea the mathematicians and physicists had been chiefly engaged in following out for three centuries. This made Hegel's work less correct and excellent in itself than it might have been; and at the same time hid its true mode of affinity with the scientific thought into which the life of the race had been chiefly laid up. It was a misfortune for Hegelism~ a misfortune for "philosophy," and a misfortune (in lesser degree) for science: Although Peirce adds, "My philosophy resuscitates Hegel, though in a strange costume, ''9 and his dialectic parallels Hegel's, he attempts to escape the Hegelian subjectivism by an "objective logic" and by avoiding Hegel's supposed mathematical ignorance. "Most of what is true in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:82 HISTORY OF PHILOSOPHY PEIRGE'S MARGINALIA IN W. T. HARRIS' Hegel's Logic Among the most eminent philosophers of nineteenth-century America were William Torrey Harris (1835-1909) and Charles Sanders Peirce (18391914 ). The former, by his establishment in 1867 of The Journal of Speculative Philosophy, furnished a starting point for American philosophical maturity. The latter, who contributed to that iournal, has been considered America's greatest logician. It may therefore be (...) of interest to examine Peirce's marginalia in the first edition of Harris' chief work, Hegel's Logic: A Book on the Genesis of the Categories of the Mind (Chicago: S. C. Griggs, 1890). Discovered by the present writer on a New York book-stall, in a cheaply priced, coverless, and water-stained copy, and now in his possession, it bears imprinted on the reverse of the title page: "Harvard University: Philos. Dept. Library. Gift of Mrs. Charles S. Peirce. June 28, 1915." Shortly after Peirce, in depressed circumstances, died on April 19, 1914, the Harvard Philosophy Department acquired from his wife the manuscripts that were published in the Collected Papers.1 Harris' Hegel's Logic, which presumably accompanied that transaction, contains several marginal annotations, mostly in faded ink, in a neat, small hand, similar to that reproduced in the frontispiece to Volume IV of Peirce's Collected Papers. Recalling a notable philosophical conjunction, the markings also reveal aspects of Peirce's character and confirm his complex attitude toward Hegel, crucial to the development of his philosophy. Peirce's shifting view and persistent concern regarding Hegel may be traced in some other remarks. For example, in a letter to Harris dated January 1, 1868, he says, "I admit there is music in the logic of Hegel, but that is all I discover there. ''2 In another letter to Harris, dated May 13, 1868, he indicates his ambivalence: "But as I should draw the line... I should come on the same side as Hegel, because I am idealistic. I do not 1eel very much opposed to Hegel, though I think his main point.s tin his own estimate of importance) are wrong. ''s About 1890, Peirce declared, "I reiect his philosophy in toto, ''~ and about 1896, he accused Hegel of reaching "each category from the last preceding by virtually calling 'next!'-5 Yet, in 1903, he acclaimed Hegel "in some respects the greatest philosopher that ever lived. ''6 And, in the very same year, reviewing another treatment of Hegel's logic, and including a reference to Harris' t Eds. Charles Hartshorne, Paul Weiss,and Arthur Burks (Vols.I-VIII; Cambridge: Harvard University Press, 1958). 2,.C.S. Peirce to W. T. Harris." ed. WallaceNethery, The Personalist,XLIII (19fi2),37. I am indebted to Dr. Nethery for his kindness in letting me see these letters in advanceof publication. sIbid.,40. 4Collected Papers,I, 193. 5 Ibid., I, 246. eIbid., I, 277. NOTES AND DISCUSSIONS 83 treatise, Peirce flatly remarks: "But all these Hegelians--Harris, XVallace, Hibben, Everett, etc.--who dog the steps of their master in almost textual comments, are profoundly unfaithful to the spirit of his philosophy... the Logik now condemns itself. ''7 A constant feature in Peirce's negative attitude toward Hegel concerns the latter's failure to equip himself scientifically to deal with a subject the American considered basically scientific. For instance, about 1899, Peirce writes: Hegel, while regarding scientific men with disdain, has for his chief topic the importance of continuity, which was the very idea the mathematicians and physicists had been chiefly engaged in following out for three centuries. This made Hegel's work less correct and excellent in itself than it might have been; and at the same time hid its true mode of affinity with the scientific thought into which the life of the race had been chiefly laid up. It was a misfortune for Hegelism~ a misfortune for "philosophy," and a misfortune (in lesser degree) for science: Although Peirce adds, "My philosophy resuscitates Hegel, though in a strange costume, ''9 and his dialectic parallels Hegel's, he attempts to escape the Hegelian subjectivism by an "objective logic" and by avoiding Hegel's supposed mathematical ignorance. "Most of what is true in... (shrink)

With the publication of this volume from the prolific pen of one of Germany's outstanding younger philosophers, the German-speaking scholarly world has a more extensive survey of key issues in the philosophy of science than the English-speaking world. The book is the first of a comprehensive work whose title is "Problems and Results in the Philosophy of Science and Analytic Philosophy." While the title of the book under consideration shows that it is primarily concerned with scientific explanation and justification, Stegmüller (...) not merely undertakes to acquaint his readers with the most important Anglo-American developments concerning these topics, but also independently develops his own ideas with respect to them and an important, if brief, feature of the volume is an appendix in which he sets forth over thirty "problems that are either unsolved or the solution of which is controversial." Without going into substantival detail, perhaps the quickest way to indicate Stegmüller's main concerns and general orientation is to note the extent of the page references in the index of names where, in descending order, one finds the names of Carl G. Hempel, to whom the volume is dedicated, R. Carnap, N. Goodman, N. Rescher, W. V. Quine, P. Oppenheim, E. Nagel, W. Dray and K. Popper. Curiously, Stegmüller indicates that, aside from Hempel, the man who has exercised the greatest influence on him has been Sir Karl Popper, but then he limits his consideration of him mainly to Popper's early exposition of explanation by reference to the breaking of a thread, while ignoring what he has to say about such topics as falsification, induction, and the problem of demarcation. Under these circumstances it is not surprising that there are no references to P. Duhem, J. Agassi, and P. Feyerabend, but there are also none to G. Bergmann, M. Bunge, P. Frank, N. R. Hanson, A. Koyré, V. Kraft, G. Radnitzky, and J. J. C. Smart, to mention just a few.--R. F. M. (shrink)

Relevance logics came of age with the one and only International Conference on relevant logics in 1974. They did not however become accepted, or easy to promulgate. In March 1981 we received most of the typescript of IN MEMORIAM: ALAN ROSS ANDERSON Proceedings of the International Conference of Relevant Logic from the original editors, Kenneth W. Collier, Ann Gasper and Robert G. Wolf of Southern Illinois University. 1 They had, most unfortunately, failed to find a publisher - not, it appears, (...) because of overall lack of merit of the essays, but because of the expense of producing the collection, lack of institutional subsidization, and doubts of publishers as to whether an expensive collection of essays on such an esoteric, not to say deviant, subject would sell. We thought that the collection of essays was still (even after more than six years in the publishing trade limbo) well worth publishing, that the subject would remain undeservedly esoteric in North America while work on it could not find publishers (it is not so esoteric in academic circles in Continental Europe, Latin America and the Antipodes) and, quite important, that we could get the collection published, and furthermore, by resorting to local means, published comparatively cheaply. It is indeed no ordinary collection. It contains work by pioneers of the main types of broadly relevant systems, and by several of the most innovative non-classical logicians of the present flourishing logical period. We have slowly re-edited and reorganised the collection and made it camera-ready. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

This collection is a multidisciplinary and multicultural contribution to the current sustainability discourse. It is focused on two main dimensions of our world: complexity and diversity. Desirable and urgent transition of socio-technological systems toward a sustainability trajectory of development requires a better understanding of technological trends and social transformations. General advancement of technology does not produce identical changes in various societies, differentiated economically and culturally. Moreover, the abilities to approach sustainable development change over time and space. As a result (...) there is a constant need for continuing research, analyses, and discussions concerning changing contexts and adequacy of strategies and policies. Authors from twelve countries and of different academic and cultural settings present their insights, analyses and recommendations. The collection is focused both on contexts and on activities leading to sustainable trajectories in various domains of economy and social life. Continuing research and discussion is needed to better understand these challenges and to prepare the appropriate strategies and solutions. Development of socio-technological systems is nowadays very complex; moreover, the world we live in is extremely diverse. Therefore, sustainability discourse must be ongoing, introducing new ideas, concepts, theories, evidence and experience by various parties-academics, professionals, and practitioners. (shrink)

In this first paperback edition, a new introduction by Tom Burke establishes the ongoing importance of Sleeper's analysis of the integrity of Dewey's work and ...