“Intelligent Design” (ID) is a contemporary intellectual movement arguing that there is scientific evidence for the existence of some sort of creator. Its proponents see ID as a scientific research program and as a way to build a bridge between science and theology, while many critics see it merely as a repackaged form of religiously motivated creationism: both bad science and bad theology. In this article, I offer a close reading of the ID movement's critique of theistic evolutionism and argue (...) that this critique is ultimately in tension with the movement's broader thought. (shrink)

Methodological naturalism, the exclusion of the supernatural from the natural sciences, has drawn critique from both proponents of Intelligent Design and some philosophical naturalists who argue that the methods of science can also be used to evaluate supernatural claims. One principal objection to methodological naturalism has been what I call the truth seeking objection. In this article I develop an understanding of methodological naturalism capable of answering the truth seeking objection. I further also argue that methodological naturalism as a convention (...) of science can be best defended by abandoning scientism. In this way methodological naturalism can be reconnected to the original theistic context in which it was first developed. (shrink)

Summary It is usually supposed that biological design arguments are made obsolete by Darwinian evolutionary theory. However, philosopher Alvin Plantinga and others have defended the continued possibility of a rational “design discourse”, in which biological order is taken as a sign of God’s purposeful action. In this article, I consider two objections to design discourse: a theological objection to biological design based on the problem of natural evil, and the evolutionary objection, according to which evolutionary theory removes the justification for (...) any biological design perception. Whereas Plantinga’s own response utilizes the arguments of the Intelligent Design movement, I argue in favor of utilizing “design discourse” as part of a theistic evolutionist view. (shrink)

The purpose of this article is to provide a broad overview and analysis of the evolution of natural theology in response to influential critiques raised against it. I identify eight main lines of critique against natural theology, and analyze how the defenders of different types of natural theology differ in their responses to these critiques, leading into several very different forms of natural theology. Based on the amount and quality of discussion that exists, I argue that simply referring to the (...) critiques of Hume, Kant, Darwin, and Barth should no longer be regarded as sufficient to settle the debate over natural theology. (shrink)

This book challenges the widespread assumption of the incompatibility of evolution and the biological design argument. Kojonen analyzes the traditional arguments for incompatibility, and argues for salvaging the idea of design in a way that is fully compatible with evolutionary biology. Relating current views to their intellectual history, Kojonen steers a course that avoids common pitfalls such as the problems of the God of the gaps, the problem of natural evil, and the traditional Humean and Darwinian critiques. The (...) resulting deconstruction of the opposition between evolution and design has the potential to transform this important debate. (shrink)

The “God of the gaps” critique is one of the most common arguments against design arguments in biology, but is also increasingly used as a critique of other natural theological arguments. In this paper, I analyze four different critiques of God of the gaps arguments and explore the relationship between gaps arguments and similar limit arguments. I conclude that the critique of the God of the gaps is substantially weaker than is commonly assumed, and dismissing ID´s biological arguments should rather (...) be based on criticizing the premises of these arguments. (shrink)

Denis Alexander, David Glass, Peter Jeavons, Meghan Page, Bethany Sollereder, and Mats Wahlberg have offered interpretations, critique, and defenses of E. V. R. Kojonen's book The Compatibility of Evolution and Design. Here, Kojonen responds to their comments on wideranging issues related to the teleology and evolution, from models of God as Creator to the meaning of randomness and design.

This paper examines the legal and ethical aspects of traceback testing, a process in which patients who have been previously diagnosed with ovarian cancer are identified and offered genetic testing so that their family members can be informed of their genetic risk and can also choose to undergo testing. Specifically, this analysis examines the ethical and legal limits in implementing traceback testing in cases when the patient is deceased and can no longer consent to genetic testing.

Rope Kojonen has presented a novel argument for design in biology by drawing on insights from evolutionary science. Without objecting to the explanatory role of evolution, he argues that there is further explanatory work to be done and that this is best achieved by an appeal to design. Here, I interpret his argument, and attempt to evaluate it, as a conjunctive explanation since he appeals to two explanations to account for the purposeful order and complexity of living organisms. (...) Understood in this way, I argue that he makes a very plausible case that two explanations (evolution and design) are better than one (evolution). I also explore the role that direct guidance by God might play in such an argument. (shrink)

This article represents comments arising from The Compatibility of Evolution and Design by Rope Kojonen (Palgrave Macmillan, 2021) concerning the role of chance and randomness in evolution (citations from this book are shown as page numbers in brackets). The various meanings of chance and randomness as used in descriptions of biological evolution are discussed and contrasted with their meanings in mathematics and metaphysics. The discussion relates to the role of contingency in evolution and to ideological and rhetorical extrapolations (...) from biology into philosophical world views. Overall it is concluded that evolution is not a chance process, except in the epistemic sense of “chance.” Theologically, this has implications for the idea that God creates through “a free evolutionary process” and may also influence our perspectives on divine action and intentionality in evolutionary history. (shrink)

The Rope And The Snake Is One Of The Popular Metaphors Employed In The Pedagogical And Didactic Expositions Of Advaita Vedanta. This Sustained And Extended Study Argues That The Metaphor Is Only A Good Starting Point In Explaining Advaita Vedanta. It Further Explores The Utility, Versatility And Occasional Inapplicability Of The Metaphor In The Study Of Advaita.

For many years before his composition of the Prince, Niccolò Machiavelli produced a vast body of writings in a range of genres, which are seldom studied. The Rope and the Chains examines these texts in order to locate the intellectual origins of the Machiavelli with whom people are widely familiar.

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 46, no. 1. © 2020 by Abby Minor 103 JUMP ROPE CHANT: A CURE FOR ALL KINDS OF STOMACH ACHES, ca. 2000 BCE–ca. 2000 CE Abby Minor Happy are those who stand in a field at night and hear the double rainbows land, or clap the gaps that RHYTHM makes, or shout to the beat of grasses; They are like trees planted by streams of water, (...) which yield their fruit in its season, & their leaps & their leaves & their feet do not wither, they leap up in the morning singing, in all that they do they chant, and jump, and are singing: “Blood root, hair pin, lupine, clover, watermints and cinnamon, a pencil, myrrh, poplar, juniper, copper water, whiskey, cotton root, snake root, savin, wire,  Clap your hands, all you peoples. —Psalm 47.1 104 Abby Minor wallflower, gunpowder, emeralds, myrtle, tonic of geranium, lace seeds, soap, bone stay, coltsfoot, catheters, quinine, a hoop bound with oil-silk, a hat pin, oak—” I chant a long time I chant from within a hollow place I chant all colors of cohosh Instantly as dawn clips green & white, I chant to dissolve separate parts I jump backwards and I chant So that you may bathe your feet in blood, it was in the Psalms, it’s what God does it might be a rain dance it will come to you like a beautiful cigar filled with fine leaves like the fine feet of a deer cleft in gold leaves Like rhythm a hair pin, rhythm a hat pin, rhythm a knitting hook, rhythm a nail RHYTHM makes my feet like the feet of a deer. I chant rosemary so assiduous I chant pennyroyal forever most poisonous I chant intransigence and double rainbows pop on the sidewalks of the cosmos, double Abby Minor 105 Dutch ropes spin like twin rivers, there I am planted like a tree by the water, like an outrider dropping fire into the ropes: I will kick up my heels seven times there will be a noise and the seed will fall out on the ground shouting, “Date palms, dancing, anise, trillium, turpentine, scissors, silphium, rum, cundums, pomegranate, pearlash, iron, foot baths, borax, birthwort, rue, wormwood, fern root, fig leaf, sneezing, a small ball of sheep’s wool, smart weed, brass, blackberries, goldbeaters, button hooks, hawthorn, womb veil, vinegar, saffron, glass—” If you try our hearts, RHYTHM, if you visit us by night; if I forget which is my left hand and which is your right— just let it be me; psalmist, you, a trace of blood. Me, muscle, 106 Abby Minor you, myrrh. Or you jumping, me rope. Me mirrorstep, you leave your dark prints on the light. Me ambush, you flood. Me bloodthirsty, you a smaller blood. You bloodthirsty, me myrrh. Me fortress, you a tent for the sun. Me splendor, you go on and on. Me hat pin, me flood. You poetry, me a clapping tree, or me poetry and you nothing at all. I say to RHYTHM, “You are my Rhythm, I have no song apart from you and I could never tell just where the sole leaves the sidewalk and turns into the smallest lit pause popped, suspended above shoe shadow; I could never say whether I’m the jumper picking up her knees or the turner planted so still save for her hands— and what pilots her hands, pilot, if not you, if not her hands? If not the offbeat, the bows of light we pattern, Rhythm which is both the rivet and what’s held: like rhythm a hair pin, rhythm a hat pin, rhythm a knitting hook, rhythm a nail Abby Minor 107 RHYTHM makes my feet like the feet of a deer. Now I chant the bitter melon fruit who lights up darkness and my feet do not grow weary writing RHYTHM on the sidewalk lighting incense in the bathtub filled with gin in which I lay chanting like the singers in front, like the musicians last, like the girls between them playing tambourines: Rhythm make a riot Rhythm eat a bee Rhythm use a chicken feather & make a joyful noise Praise Rhythm with mint & astringents with spearmints & syringes with pipes, pen handles, mercury... (shrink)

Vollmer, modifying the transposition by Fr. Jacobs of 61–74 after 24, placed these lines after 23; this finally put paid to the reading exordiar astus, which the authority of the Aldine edition had imposed on the early editors, and consequently v. 24 could no longer be taken as concluding the sense of the preceding lines.

In this paper we compare the strategies applied by two successful biological components of the ecosystem, the viruses and the human beings, to interact with the environment. Viruses have had and still exert deep and vast actions on the ecosystem especially at the genome level of most of its biotic components. We discuss on the importance of the human being as contraptions maker in particular of robots, hence of machines capable of automatically carrying out complex series of actions. Beside the (...) relevance of designing and assembling these contraptions, it is of basic importance the goal for which they are assembled and future scenarios of their possible impact on the ecosystem. We can’t procrastinate the development and implementation of a highly inspired and stringent “ethical code” for human beings and humanoid robots because it will be a crucial aspect for the wellbeing of the mankind and of the entire ecosystem. (shrink)

The article is motivated by a growing interest to solve local problems by infusing indigenous knowledge systems. It discusses the strained interface between religious and political actors using a local brand of theology, termed bindepinde [stout rope] theology. This theology is based on a local fable told to children, on how a Hare abused Hippopotamus and Elephant using a tethering rope. The folk story is taken as a metaphor in which Hare represents the sly politician abusing the (...) class='Hi'>rope to control Hippopotamus and Elephant, representing religious actors. Though Zimbabwe has a special place in this research, the research has shown that politicians act as third forces the world over. Religious entities often act as fodder for the progress of political demagogues, whose egos are legitimised by competing religious ideologies. Many religious bodies inadvertently enable politicians, thinking that they are fulfilling their own mandates. The article proposes negotiated versions of liberation theology and synodality as possible ways of overcoming inadvertent scaffolding of bindepinde theology. It concludes that while it may be difficult to tame the politician, it may be worthwhile to minimise the damage by making him focus more on the common good. Contribution: This article contributes bindepinde brand of theology as an indigenous theory of knowledge in the area of religio-political dialogue. The bindepinde theology has proved applicable to various contexts globally, where it thrives on dualism. Its mitigation lies in Kairos theology. (shrink)

This article engages Kojonen's discussion of scientific explanation. Kojonen claims the best way to conceptualize the relationship between evolutionary explanations and explanation by design is through the proximate-ultimate distinction and the levels metaphor. However, these are not robust explanatory models but examples of how one might differentiate ambiguous explananda contained in why-questions. Disambiguating explananda is a helpful tool for determining when a situation calls for further explanation; however, on this picture, that some further explanation is needed does not, (...) as proponents of design arguments assume, specify design. The question of whether design is a good explanation at all hinges on what precisely we want explained. (shrink)

In his target article, Daryl Pullman explores and explains the divergent developments of the frequency of medical assistance in dying (MAID) in Canada and California in the US (Pullman 2023). One o...

This paper gives a brief sketch of György Márkus’s philosophical style as manifest in the context of his role within the revival of Hegelian philosophy in Sydney in the last decades of the 20th century. Written from the perspective of one of his students, this style is sharpened by the contrast with that of another philosopher who was influential in the Hegel revival around that time, Richard Rorty. It is suggested that the stark antithesis between Márkusian and Rortarian philosophical and (...) interpretative styles reflects tensions within Hegel’s own attitude to what it might mean to reanimate a philosophy from the past within a radically changed cultural context. (shrink)

This chapter talks about status anxiety by drawing examples from Veronica Mars. There are differences in status, in one's standing in society. Some are at the top, some are at the bottom, and some are in the middle. Everyone is worried about where he or she fits on the hierarchy of standing and importance. Some lower primates sort themselves, with alpha males beating their chests, feeding first, and claiming privileged mating rights. We humans would like to think we are above (...) such vulgar displays, yet a quick glance at Neptune or at our own town reveals that we may be more subtle, but only a little. Where we fit in, what our status is, matters. It matters to the way others treat us, but, maybe more importantly, it matters to the way we think of ourselves. The way others treat us influences the way we think of ourselves. (shrink)

According to some phenomenologists, a tool can be experienced as incorporated when, as a result of habitual use or deliberate practice, someone is able to manipulate it without conscious effort. In this article, we specifically focus on the experience of expertise tool use in elite sport. Based on a case study of elite rope skipping, we argue that the phenomenological concept of incorporation does not suffice to adequately describe how expert tool users feel when interacting with their tools. By (...) analyzing a combination of insights gained from participant observation of 11 elite rope skippers and autoethnographic material from one former elite skipper, we take some initial steps toward the development of a more nuanced understanding of the concept of incorporation; one that is able to accommodate the experiences of expert tool users. In sum, our analyses indicate that the possibility for experiencing a tool as incorporated depends on the existence of an extraordinary kind of relationship between th... (shrink)

This article explores the way in which the generative capacity of language inflects objects and props in several films by Alfred Hitchcock, focusing in particular on Rope (1948) and Strangers on a Train (1951). Camera angle and framing, the duration of the shot, the close-up or the long shot – all give shape to the filmed object. But why is language – or its absence – not mentioned among the set of operations that determines cinematic objects? In the form (...) of dialogue or imaged writing (words or letters visible in the frame), it notably contextualizes the object in Hitchcock's films. Language in relation to objects can be punning; it can extend the image, evoking another, unimaged object through the use of rhyme, and it may act as a verbal solution to a puzzle. When imaged as writing, language is materialized, itself an object. At their most macabre, Hitchcock films stage an oscillation between a word's literal and figurative use, generating an undertext that extends beyond the joke the film's surface makes available. This discussion teases out several functions of language in Hitchcock films as it impacts the viewer's understanding of objects, moments when language creates undertexts that are clearly intentional but resist interpretation. (shrink)

The rope nations and people have held on in order to climb up to a better life, is now threatening to draw them back into a pit of oblivion. What will it profit a nation to become civilized and lose its identity in the process? How will people of today look in the face of future generation and fumble at excuses to explain why they are not regarded as a cultural group of its own? This paper tries to show (...) how globalization has led to the loss of cultural identity in Nigeria. (shrink)

Threads, ropes and textiles are elements of everyday life, which have reached a high technical level of development early in human history. The spinning of the yarn, one of the oldest forms of knowledge, seems to be, like the origin of every form of art, inseparable from a particular mythology. Besides their practical use, threads, nodes and tissues must have been quickly charged with symbolic meanings. This article examines the symbolism of the thread, the node and the tissue as metaphors (...) that are sometimes connected with life and sometimes with death. (shrink)

According to most accounts of trust, you can only trust other people (or groups of people). To trust is to think that another has goodwill, or something to that effect. I sketch a different form of trust: the unquestioning attitude. What it is to trust, in this sense, is to settle one’s mind about something, to stop questioning it. To trust is to rely on a resource while suspending deliberation over its reliability. Trust lowers the barrier of monitoring, challenging, checking, (...) and questioning. Trust sets up open pipelines between yourself and parts of the external world. Trust permits external resources to have a similar relationship to one as one’s internal cognitive faculties. This creates efficiency, but at the price of exquisite vulnerability. We must trust in this way because we are cognitively limited beings in a cognitively overwhelming world. Crucially, we can hold the unquestioning attitude towards objects and technologies. When I trust my climbing rope, I stop worrying about its reliability. When I trust my online calendaring system, I simply go to the events indicated, without question. But, one might worry, how could one ever hold such a normatively loaded attitude as trust towards mere objects? How could it ever make sense to feel betrayed by an object? Trust is our engine for expanding and outsourcing our agency — for binding external processes into our practical selves. Thus, we can be betrayed by our smartphones in the same way that we can be betrayed by our memory. When we trust, we try to make something a part of our agency, and we are betrayed when our part lets us down. To unquestioningly trust something is to let it in—to attempt to bring it inside one’s practical functioning. This suggests a new form of gullibility: agential gullibility, which occurs when agents too hastily and carelessly integrate external resources into their own agency. (shrink)

In this article, I first interpret and evaluate the main argument of E. V. R. Kojonen's book, The Compatibility of Evolution and Design. I then address a challenge against this argument (as well as against design arguments in general), namely, the problem of seemingly malevolent and bad designs in nature. Evolutionary theodicists commonly deal with this problem by assuming that the evolutionary process is not fully under God's control. This solution, however, is deeply problematic from the perspective of classical (...) theism. I therefore suggest another approach to the problem, inspired by the thought of Thomas Aquinas. (shrink)