Over the last decade, ‘data scientists’ have burst into society as a novel expert role. They hold increasing responsibility for generating and analysing digitally captured human experiences. The article considers their professionalization not as a functionally necessary development but as the outcome of classification practices and struggles. The rise of data scientists is examined across their discursive classification in the academic and economic fields in both the USA and Germany. Despite notable differences across these fields and nations, the article identifies (...) two common subjectivation patterns. Firstly, data scientists are constructed as hybrids, who combine generally conflictive roles as both generalists and specialists; technicians and communicators; data exploiters and data ethicists. This finding is interpreted as demonstrating a discursive distinction between data scientists and other competing and supposedly more one-dimensional professionals, such as statisticians or computer scientists. Secondly, the article uncovers a discursive construction that interpellates data scientists as discoverers of needs. They are imagined as explorative work subjects who can establish growth for digital capitalism by generating behavioural patterns that allow for personalization, customization and optimization practices. (shrink)

Theories of discourse bring to realism new ideas about how knowledge develops and how representations of reality are influenced. We gain an understanding of the conceptual aspect of social life and the processes by which meaning is produced. This collection reflects the growing interest realist critics have shown towards forms of discourse theory and deconstruction. The diverse range of contributions address such issues as the work of Derrida and deconstruction, discourse theory, Eurocentrism and poststructuralism. What unites all of the contributions (...) is a sense that it is essential to provide a realist alternative to the hitherto dominance of social constructionism, hermeneutics and postmodernism, over many of the issues discussed. By developing a realist perspective the different authors attempt to embed discourse within the structured nature of the reality of the world. Realism can situate language, discourse and ideology within context specific, or 'causally efficacious' circumstances. Realism can help to uncover issues of power, representation, and subjectivity and how discursive and other social practices produce real effects. This can help us understand the manner in which social structures are reproduced through various forms of ideology and discourse. And by knowing this, we can start to address questions concerning human emancipation and how the world is to be transformed. (shrink)

A sourcebook for developing and facilitating collaborative groups capable of continuously adapting to anticipate the evolving learning needs of students. Based on a theoretical foundation of schools as complex systems in which linear management models are no longer sufficient.

Develops a theory of culture based on a metaphysics that elaborates on the Platonic and Confucian traditions. In Metaphysics of Goodness, Robert Cummings Neville extends Alfred North Whitehead’s project of cultural studies, which was based on a new metaphysics that Whitehead developed in Adventures of Ideas. Neville’s focus is value or goodness in many modes. The metaphysics treated in this book derive from the Platonic and Confucian traditions, with significant modifications of Whitehead, Peirce, Dewey, Confucius, Xunzi, and Zhou Dunyi. (...) Part one develops a theory of form based on a metaphysics of harmony. Part two elaborates a theory of art based on a metaphysics of beauty. Part three sketches a theory of personhood based on a metaphysics of obligation. Part four discusses civilization in a systematic way based on a metaphysics of flourishing. Throughout the book, Neville elaborates a theory of interpretation that is inspired by Peirce, Dewey, and Xunzi but is not limited to their ideas. While the reasoning of the book is concise, it employs methodologies from many kinds of philosophy, art criticism, ethics, and cultural studies, and sees philosophy as needing to learn from all these disciplines. “Neville’s work is informed by a lifelong engagement with the most important philosophers in history, including Plato, Aristotle, Whitehead, and Dewey. Here, he offers an important argument that there is beauty not only in how people see the world, but also in the world itself.” — Kevin Schilbrack, Appalachian State University. (shrink)

Looks at accounts by Locke, Fodor, Dretske, and Millikan concerning the nature of mental representation, and discusses connectionism and representation.

Robert Batterman examines a form of scientific reasoning called asymptotic reasoning, arguing that it has important consequences for our understanding of the scientific process as a whole. He maintains that asymptotic reasoning is essential for explaining what physicists call universal behavior. With clarity and rigor, he simplifies complex questions about universal behavior, demonstrating a profound understanding of the underlying structures that ground them. This book introduces a valuable new method that is certain to fill explanatory gaps across disciplines.

"This is an important new Cummins work.

From the ferment of recent debates about the intellectual virtues, Roberts and Wood develop an approach they call 'regulative epistemology', exploring the connection between knowledge and intellectual virtue. In the course of their argument they analyse particular virtues of intellectual life - such as courage, generosity, and humility - in detail.

Robert Stalnaker draws together in this volume his seminal work in metaphysics. The central theme is the role of possible worlds in articulating our various metaphysical commitments. The book begins with reflections on the general idea of a possible world, and then uses the framework of possible worlds to formulate and clarify some questions about properties and individuals, reference, thought, and experience. The essays also reflect on the nature of metaphysics, and on the relation between questions about what there (...) is and questions about how we talk and think about what there is. Two of the fourteen essays, plus an extensive introduction that sets the papers in context and draws out the essays' common threads, are published here for the first time. (shrink)

This article discusses minimal model explanations, which we argue are distinct from various causal, mechanical, difference-making, and so on, strategies prominent in the philosophical literature. We contend that what accounts for the explanatory power of these models is not that they have certain features in common with real systems. Rather, the models are explanatory because of a story about why a class of systems will all display the same large-scale behavior because the details that distinguish them are irrelevant. This story (...) explains patterns across extremely diverse systems and shows how minimal models can be used to understand real systems. (shrink)

It is a near truism of philosophy of language that sentences are prior to words--that they are the only things that fundamentally have meaning. Robert's Stainton's study interrogates this idea, drawing on a wide body of evidence to argue that speakers can and do use mere words, not sentences, to communicate complex thoughts.

Robert Brandom's latest book, the product of his John Locke lectures in Oxford in 2006, is a return to the philosophy of language and is easily read as a continuation and development of the views defended in Making it Explicit. The text of the lectures is presented much as they were delivered, but it contains an ‘Afterword’ of more than 30 pages which responds to questions raised when he gave the lectures, and also when they were subsequently delivered in (...) Prague the following year. The published text also contains relatively technical appendices to two of the lectures.The individual lectures engage with some important and difficult issues, often ones that were explored in detail in the earlier book. However, these discussions are located within a broader meta-philosophical context, and it says something about the abstract and difficult character of these views that they provide the main subject matter of the Afterword. This framework affects how we should understand the relations between this book and Making It Explicit too. Although most of the detailed discussions happily belong within the general project of the earlier book, they are offered as illustrations of a framework that is independent of this project. Indeed, Brandom suggests that defenders of the semantic views of David Lewis, for example, could embrace his main message as well as those who favour Brandom's own form of pragmatism.Neo-pragmatist philosophers such as Brandom's teacher, Richard Rorty, often present themselves as rejecting the analytic tradition in philosophy. When Brandom describes the ‘pragmatist challenge’ to the ‘classical project of analysis’, he appeals to the criticisms found in the work of Wittgenstein and Sellars that are often appealed to by the critics of the analytic tradition. The message of the new book is that the views he has built on this …. (shrink)

Within the European history of ideas, at least three conceptions of metamorphosis can be distinguished. First, as celebrated in Ovid’s Metamorphoses, there is the vision of an open-ended flux of shapes in all directions, potentially with the ambiguous result of wavering identity. Secondly, at the centre of the synoptic gospels Jesus’s transfiguration is presented as a luminous elevation, rendering his true nature unambiguous. Thirdly, alchemy conceives of metamorphosis as contingent upon a meeting of polarities. The distinction is fit to disclose (...) crucial aspects of works of art, particularly of musical compositions. (shrink)

In the spirit of Fontenelle's "Dialogues des morts", Dorschel stages an imaginary conversation between 18th century composer Joseph Haydn and 20th century composer Anton von Webern. In the section of Hades reserved for composers, they confront their different musical poetics.

The production of artworks can be based on a fixed modus operandi, i.e., on a general manner and, alongside, specific patterns to be applied all over again. Alternatively, each artwork can be seen as (cor-)responding to an individual problem for which there is no recipe; in this case it needs to be looked at afresh. That approach characterizes the aesthetics of music composer Isabel Mundry (*1963); her art, ever unpredictable, is one of nuances.

These are some of the central questions that Robert Proctor addresses in his study of the politics of modern science.

Order has been ascribed both to nature and to society. There is a long tradition of claiming that the social order and the natural order are closely linked. Radical enlightenment challenged that tradition. According to Spinoza to call something orderly simply means that we can easily imagine and remember it; ascribing order thus betrays merely something about us, not about things. This challenging idea never became Enlightenment mainstream. In fact, ties between an objective natural order and our own human order (...) were widely popularized in the 18th century. Yet one strand of thinking, set out to undermine traditional views of order, turned up trumps. The British Enlightenment succeeded in undoing the time-honoured equation of order and hierarchy. (shrink)

Material traces of the past are notoriously inscrutable; they rarely speak with one voice, and what they say is never unmediated. They stand as evidence only given a rich scaffolding of interpretation which is, itself, always open to challenge and revision. And yet archaeological evidence has dramatically expanded what we know of the cultural past, sometimes demonstrating a striking capacity to disrupt settled assumptions. The questions we address in Evidential Reasoning are: How are these successes realized? What gives us confidence (...) in the credibility and robustness, the trustworthiness, of the evidential claims based on archaeological data? And, what constitute best practices in building evidential claims, critically scrutinizing them and putting them to work in archaeological contexts? Rather than retreat to abstractions about how how science operates in the ideal, we approach this question by interrogating a number of close-to-the-ground case studies with the aim of teasing out the wisdom embodied in archaeological practice. The cases we consider – of fieldwork, strategies for working with old evidence, and the role of external resources – illuminate the role of various types of inferential scaffolding and bring into focus practice-grounded epistemic norms that we believe serve archaeologists better than the all-or-nothing ideals of truth and objectivity that dominate programmatic debate. (shrink)

Attempts to bestow a musical background upon spoken drama have been deemed widely superfluous; most films, by way of contrast, do employ music. This aesthetic divergence invites an account of film music in terms of lack and compensation. The standard account in such terms, viz. that music has to fill the vacuum of silence, does not explain what it is supposed to explain. Rather, music in cinema can restore in a different way the expression lost as reality is reduced to (...) mere pictures. (shrink)

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...) of art (‘Gesamtkunstwerk’) include or rather exclude chamber music? (shrink)

What does it mean to be conservative? What could it mean in the arts? Whoever merely conserves works of art may be a collector but is not an artist. Brahms’s trio op. 40 conserves the hand horn idiom. Yet its aesthetics will not be captured by the opposition of ‘conservative’ versus ‘progressive’. What is superior in terms of technology, Brahms maintained, need not be superior in terms of art.

Remembrance is constitutive of music. For music emerges not as an isolated physical stimulus. Rather, it is experienced, i.e., a present musical moment is tied to its temporal antecedents. It is tempting to conceive of remembrance as repetition and as thus opposed to oblivion. Yet to memory selectivity is crucial. What is not selected, falls into oblivion. Hence as we remember we have forgotten already. The present moment evokes remembrance, and exhibits what was then in the light of what is (...) now. Remembrance changes the past it recovers. Listening to music, we may experience anamnesis to be metamorphosis. (shrink)

In design theory, moral categories have traditionally been used in favour of objectivity and soberness to oppose designers' aesthetic narcissism. This use of moral concepts is directed at the individual design object. The situation gets more complicated, however, as soon as the totality (or a large number) of objects of a certain type raises problems which could not have been predicted from features of the individual object as such. The essay attempts to clarify how ethical concepts could be relevant to (...) dealing with such complications. (shrink)

To call a piece of music sad or joyous need not imply reference to a subjective state. Speaking in this vein, we do not have to attribute sad or joyous feelings to the composer or to the performer. Nor do we predict that listeners will become sad or joyful when they will listen to a performance of that composition. Musical expression is not a mode of consciousness in those who produce it and it is not an effect of music either. (...) Rather, it is a feature of the music itself. Once we have discarded the psychological reduction of expression, the way may be clear to explore the intricate relation between expression and subjectivity. Friedrich von Hausegger’s Music as Expression (1885/87) stands out among the guides to be recommended for a journey along that path. (shrink)

This paper concerns what Jerry Fodor calls a 'metaphysical mystery': How can there by macroregularities that are realized by wildly heterogeneous lower level mechanisms? But the answer to this question is not as mysterious as many, including Jaegwon Kim, Ned Block, and Jerry Fodor might think. The multiple realizability of the properties of the special sciences such as psychology is best understood as a kind of universality, where 'universality' is used in the technical sense one finds in the physics literature. (...) It is argued that the same explanatory strategy used by physicists to provide understanding of universal behavior in physics can be used to explain how special science properties can be heterogeneously multiply realized. (shrink)

Reference to past possibilities is not an additional luxury in writing history, after all facts have been established. For even facts become such only within a field of alternative options. What it means that one path was taken depends in part on answers to the question which other paths once open were not taken. Historical potential unrealized can be conceived of in a number of ways: as unfulfilled intentions, as unresolved problems, as suppressed endeavours, as waived alternatives within a context (...) of decision, or as losses incurred by gains in some other respect. Some of these conceptions are non-exclusive. None of them provides the single model to grasp past possibilities; rather, they will turn out to be more or less elucidative according to historical case. (shrink)

This paper aims to draw attention to an explanatory problem posed by the existence of multiply realized or universal behavior exhibited by certain physical systems. The problem is to explain how it is possible that systems radically distinct at lower-scales can nevertheless exhibit identical or nearly identical behavior at upper-scales. Theoretically this is reflected by the fact that continuum theories such as fluid mechanics are spectacularly successful at predicting, describing, and explaining fluid behaviors despite the fact that they do not (...) recognize the discrete nature of fluids. A standard attempt to reduce one theory to another, is shown to fail to answer the appropriate question about autonomy. (shrink)

Robert John Ackermann deals decisively with the problem of relativism that has plagued post-empiricist philosophy of science. Recognizing that theory and data are mediated by data domains (bordered data sets produced by scientific instruments), he argues that the use of instruments breaks the dependency of observation on theory and thus creates a reasoned basis for scientific objectivity. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished (...) backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)