This chapter contains sections titled: McCloud's Definition Pictures and Comics Panels, Panels Everywhere Seeing‐in and Closure Pictureless Comics? Wordless Prints, Unprinted Words Spaces Between Words The Air of Non‐Pictures A Continuum of Cases Comic Books and Ideal Books Notes References.

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

ABSTRACT This article seeks, from a growing production of works in which literary narratives operate as verbal and visual languages in dialogue, to approach the formats widely found in bookstores, libraries, and in the hands of readers: comics and picturebooks. Thinking about the similarities and differences between them, we can understand how multimodal literature transits between the resources of these formats, without losing aesthetic quality and continuity, that is, highlighting the fluidity between them. To this end, we analyzed theoretical references (...) (McCloud, 2005; Nikolajeva and Scott, 2011; Linden, 2011) and observed two narratives that do not reflect the traditional parameters of these formats: In the Night Kitchen (1970), by Maurice Sendak and Are We There Yet? (2016) by Dan Santat. We reflect, therefore, on this confrontation of borders that reveals a need for a broader understanding of literature. (shrink)

Arguments are weakly meta-argumentative when they call attention to themselves and purport to be successful as arguments. Arguments are strongly metaargumentative when they take arguments (themselves or other arguments) as objects for evaluation, clarification, or improvement and explicitly use concepts of argument analysis for the task. The ambitious meta-argumentation thesis is that all argumentation is weakly argumentative. The modest meta-argumentation thesis is that there are unique instances of strongly meta-argumentative argument. Here, we show how the two theses are connected and (...) both are plausible. (shrink)

Recourse to meta-argument is an important feature of successful argument exchanges; it is where norms are made explicit or clarified, corrections are offered, and inferences are evaluated, among much else. Sadly, it is often an avenue for abuse, as the very virtues of meta-argument are turned against it. The question as to how to manage such abuses is a vexing one. Erik Krabbe proposed that one be levied a fine in cases of inappropriate meta-argumentative bids (2003). In a recent publication (...) (2022) Beth Innocenti expands on this notion of a penalty, arguing that some meta-arguments should be halted with “shouting, cussing, sarcasm, name-calling.” In this essay, we review Innocenti’s case that these confrontations and haltings improve the argumentative circumstances. We provide three reasons that this promise is not well-founded. First, that such confrontations have a significant audience problem, in that they are more likely to be interpreted as destroying the argumentative context than improving it. Second, that Innocenti’s procedural justification, that those who lose meta-discussions should pay a penalty, is not satisfied if the meta-discussion is halted. And third, there is a boundary problem for the cases, since it seems there is no principled reason to restrict halting meta-arguments just to these cases (especially if there is no meta-discussion on the matter to make the bounds explicit). Though expressions of anger can be appropriate in argument, we argue, it cannot take the place of argument. (shrink)

The nocebo effect, a phenomenon whereby learning about the possible side effects of a medical treatment increases the likelihood that one will suffer these side effects, continues to challenge physicians and ethicists. If a physician fully informs her patient as to the potential side effects of a medicine that may produce nocebogenic effects, which is usually conceived of as being a requirement associated with the duty to respect autonomy, she risks increasing the likelihood that her patient will experience these side (...) effects and therefore suffer (unnecessary) harm, a violation of the duty of nonmaleficence. If, on the other hand, she intentionally withholds side effect information in an effort to protect her patient from suffering unnecessary harm from side effects, which is consistent with the duty of nonmaleficence, she violates the duty to respect patient autonomy. In this paper, the author discusses several previous attempts to deal with the nocebo effect and explains their weaknesses. He then proposes a means of managing the nocebo effect and argues that it does not share the weaknesses found in previous approaches. He concludes with a discussion of a simple, yet practical tool that might help clinicians manage the tension resulting from the nocebo effect. (shrink)

This article argues that the theoretical concept of meta-argumentative fallacy is useful. The authors argue for this along two lines. The first is that with the concept, the authors may clarify the concept of meta-argumentation. That is, by theorizing where meta-argument goes wrong, the authors may capture the norms of this level of argumentation. The second is that the concept of meta-argumentative fallacies provides an explanatory model for a variety of errors in argument otherwise difficult to theorize. The authors take (...) three as exemplary: the straw man, both sides, and free speech fallacies. (shrink)

Evidence for a dichotomy between the planning of an action and its on-line control in humans is reviewed. This evidence suggests that planning and control each serve a specialized purpose utilizing distinct visual representations. Evidence from behavioral studies suggests that planning is influenced by a large array of visual and cognitive information, whereas control is influenced solely by the spatial characteristics of the target, including such things as its size, shape, orientation, and so forth. Evidence from brain imaging and neuropsychology (...) suggests that planning and control are subserved by separate visual centers in the posterior parietal lobes, each constituting part of a larger network for planning and control. Planning appears to rely on phylogenetically newer regions in the inferior parietal lobe, along with the frontal lobes and basal ganglia, whereas control appears to rely on older regions in the superior parietal lobe, along with the cerebellum. Key Words: action; apraxia; control; illusions; optic ataxia; PET; planning; reaching;. (shrink)

Pragmatism, Experience, and the Given The doctrine of the Given is that subjects have direct non-inferential awareness of content of their experiences and apprehensions, and that some of a subject's beliefs are justified on the basis of that subject's awareness of her experiences and apprehensions. Pragmatist criticisms of the Given as a myth are shown here not only to be inadequate but to presuppose the Given. A model for a pragmatist account of the Given is then provided in terms of (...) refinements of Dewey's theory of experience. The doctrine of the Given is implicated in the functions of inquiry insofar as one must take it that experience is a source of justification. (shrink)

This paper reports on a survey that investigated the moral decision processes of accountants. A formal belief revision model is adapted and hypotheses based on theorizations from the cognitive-developmental school are tested. The moral decision processes of accountants are hypothesized to be influenced by professional expectations, organizational expectations and internalized expectations. Subjects provided specific demographic data and were asked to access the appropriateness of fourteen principles for making moral decisions in business. Subjects were also asked to indicate which of the (...) fourteen approaches would be most appropriate for resolving each of five ethical situations that are representative of common ethical dilemmas in accounting.Subjects'' responses to the appropriateness of the fourteen principles are reduced to two dimensions using factor analysis. The factors are consistent and representative of important underlying dimensions of the stages of moral development. Demographic variables are correlated with the extracted factors using analysis of variance. (shrink)

This study compares college students with other adults in terms of the Muncy–Vitell (1992) consumer ethics scale. Further, the study updates the Muncy–Vitell consumer ethics scale with modifications that include rewording and the addition of new items. These new items can be grouped into three distinct categories – (1) downloading/buying counterfeit goods, (2) recycling/environmental awareness and (3) doing the right thing/doing good. The study also compares these two groups in terms of their attitude toward business. Results show that there is (...) indeed a significant difference between these two groups in terms of ethical perceptions, but not in terms of the “recycling” items and the “doing good” items. There was also little difference between the groups in terms of their attitude toward business indicating that attitude toward business does not explain their different ethical perspectives. (shrink)

Given immunity’s general role in the organism’s economy—both in terms of its internal environment as well as mediating its external relations—immune theory has expanded its traditional formulation of preserving individual autonomy to one that includes accounting for nutritional processes and symbiotic relationships that require immune tolerance. When such a full ecological alignment is adopted, the immune system becomes the mediator of both defensive and assimilative environmental intercourse, where a balance of immune rejection and tolerance governs the complex interactions of the (...) organism’s ecological relationships. Accordingly, immunology, which historically had affiliated with the biology of individuals, now becomes a science concerned with the biology of communities. With this translocation, the ontological basis of the organism is undergoing a profound change. Indeed, the recent recognition of the ubiquity of symbiosis has challenged the traditional notions of biological individuality and requires a shift in the metaphysics undergirding biology, in which a philosophy of the organism must be characterized by ecological dialectics “all-the-way-down.”. (shrink)

In this essay I discuss a novel engineering ethics class that has the potential to significantly decrease the likelihood that students will inadvertently or unintentionally act unethically in the future. This class is different from standard engineering ethics classes in that it focuses on the issue of why people act unethically and how students can avoid a variety of hurdles to ethical behavior. I do not deny that it is important for students to develop cogent moral reasoning and ethical decision-making (...) as taught in traditional college-level ethics classes, but as an educator, I aim to help students apply moral reasoning in specific, real-life situations so they are able to make ethical decisions and act ethically in their academic careers and after they graduate. Research in moral psychology provides evidence that many seemingly irrelevant situational factors affect the moral judgment of most moral agents and frequently lead agents to unintentionally or inadvertently act wrongly. I argue that, in addition to teaching college students moral reasoning and ethical decision-making, it is important to: 1. Teach students about psychological and situational factors that affect people’s ethical judgments/behaviors in the sometimes stressful, emotion-laden environment of the workplace; 2. Guide students to engage in critical reflection about the sorts of situations they personally might find ethically challenging before they encounter those situations; and 3. Provide students with strategies to help them avoid future unethical behavior when they encounter these situations in school and in the workplace. (shrink)

On the Nature of Photographic Realism’ Kendall Walton argues that lack of mental-state involvement in the formation of photographic images is a quality that sets them apart from handmade images such as paintings or sketches. This paper defends and substantially develops this idea. It argues that viewers' knowledge of this objective character of the photographic process provides them with special warrant for the acceptance of first-order perceptual beliefs formed as a result of viewing photographic images. As well, it distinguishes between (...) two different ways in which mental states can be involved in the formation of photographic images, and uses this distinction to ward off the objection that decisions about film type, composition, moment of exposure, etc. undermine the objectivity of the photographic process. (shrink)

This article poses two regresses for justification of moral knowledge and discusses three models for moral epistemic infinitism that arise. There are moral infinitisms dependent on empirical infinitism, what are called “piggyback” moral infinitisms. There are substantive empiricist moral infinitisms, requiring infinite chains of descriptive facts to justify normative rules. These empiricist infinitisms are developed either as infinitist egoisms or as infinitist sentimentalisms. And, finally, there are substantive rationalist moral infinitisms, requiring infinite chains of normative reasons to justify moral rules. (...) Rationalist moral infinitism is posed as a mixed view integrating moral intuitions with the demand for justifying reasons. (shrink)

In this essay, we give a theoretical overview of how humor can play a meta-argumentative role, particularly in making clear the norms and stakes of arguments. This, we think, has salutary consequences for teaching critical thinking and argument evaluation—humor is a useful tool for making those things clear. However, there are troubling features of humor’s functions that problematize its use in teaching settings. These are what we call the cruelty, audience, accessibility, and gender gap problems for humor as a pedagogical (...) tool. (shrink)

My aim in this article is to argue that Philippa Foot fails to provide a convincing basis for moral evaluation in her bookNatural Goodness.Foot's proposal fails because her conception of natural goodness and defect in human beings either sanctions prescriptive claims that are clearly objectionable or else it inadvertently begs the question of what constitutes a good human life by tacitly appealing to an independent ethical standpoint to sanitize the theory's normative implications. Foot's appeal to natural facts about human goodness (...) is in this way singled out as an Achilles' heel that undermines her attempt to establish an independent framework for virtue ethics. This problem might seem to be one that is uniquely applicable to the bold naturalism of Foot's methodology; however, I claim that the problem is indicative of a more general problem for all contemporary articulations of virtue ethics. (shrink)

Given increasing ethical problems in business, many organizations have tried to control these problems by institutionalizing ethics such as by creating new ethics positions and formulating and enforcing codes of ethics. In this study, the impact of implicit and explicit forms of institutionalization of ethics on job satisfaction, esprit de corps, and organizational commitment for marketing professionals is investigated. Additionally, the influence of organizational socialization, ethical relativism, and age relative to each of the above organizational climate constructs is examined. Results (...) indicate that at least one of the forms of institutionalization of ethics is a significant determinant of all three organizational climate constructs. However, while organizational socialization is a significant determinant of all three organizational climate variables, relativism is only significant in determining organizational commitment (in a negative direction) and age is only significant in determining job satisfaction. (shrink)

Skepticism is regularly a target for the _apraxia_ challenge, namely, that skepticism robs us of the cognitive means for life (or at least the life well-lived). Skeptics have replied to the _apraxia_ challenge in various manners, and anti-skeptics have then answered with objections to these skeptical replies. St. Augustine’s crossroads case in _Contra Academicos_ is one such second-stage pragmatic anti-skepticism, one targeting Academic probabilism in particular. This dialectical assessment challenges Augustine’s case as inappropriately comparing the possible errors and their costs (...) in the crossroads decision, but this assessment opens Academics to a potentially devastating dilemma for their probabilism. (shrink)

This article critically interrogates contemporary forms of addiction medicine that are portrayed by policy-makers as providing a ‘rational’ or politically neutral approach to dealing with drug use and related social problems. In particular, it examines the historical origins of the biological facts that are today understood to provide a foundation for contemporary understandings of addiction as a ‘disease of the brain’. Drawing upon classic and contemporary work on ‘styles of thought’, it documents how, in the period between the mid-1960s and (...) the mid-1970s, such facts emerged in relation to new neurobiological styles of explaining and managing social problems associated with drug abuse, and an alliance between a relatively marginal group of researchers and American policy-makers who were launching the ‘War on Drugs’. Beyond illustrating the political and material conditions necessary for the rise of addiction neuroscience, the article highlights the productivity of neurobiological thought styles, by focusing on the new biological objects, treatments and hopes that have emerged within the field of addiction studies over the last several decades. (shrink)

Developmental biology is a theory of interpretation. Developmental signals are interpreted differently depending on the previous history of the responding cell. Thus, there is a context for the reception of a signal. While this conclusion is obvious during metamorphosis, when a single hormone instructs some cells to proliferate, some cells to differentiate, and other cells to die, it is commonplace during normal development. Paracrine factors such as BMP4 can induce apoptosis, proliferation, or differentiation depending upon the history of the responding (...) cells. In addition, organisms have evolved to alter their development in response to differences in temperature, diet, the presence of predators, or the presence of competitors. This allows them to develop the phenotype, within the limits imposed by the genotype, best suited for the immediate habitat of the organism. Most developing organisms have also evolved to expect developmental signals from symbionts, and these organisms develop abnormally if the symbiont signals are not present. Thus Hoffmeyer’s “vertical semiotic system” of genetic communication and “horizontal semiotic system” of ecological communication are integrated during development. (shrink)

Environmental revelationism is the view that there are preferred means of knowing the value and structure of nature, and these means are characterized by experiences of awe or ceremonial feelings of reverence. This paper outlines the dogmatic consequences of this view.

This paper traces the history of uses of the word “gender”. It suggests that though “gender” has been recuperated and become commonplace, many issues persist around the way “women” and “men”, and the power relations between them, are defined and are evolving. Provided it still allows us to question the meanings attached to the sexes, how they are established and in what contexts, gender remains a useful, because critical, analytical category.

Ethics has assumed a dominant position in the current economic debate, and this study focuses on ethics as a legitimate underpinning to good business decision making. Using a self-response survey of marketing managers in Spain, the current theory on ethical decision making is extended. Results support the mediating influence of the PRESOR construct (an individual’s perception of the importance of ethics and social responsibility for the effectiveness of the organization) on relativistic and idealistic moral thinking when one is considering the (...) moral intensity of a situation. In addition, the study found support for the relationship between relativism (negative), idealism (positive), corporate ethical values, and job satisfaction, thereby providing additional support for the prior theory. Finally, a thorough review of the extant literature and suggestions for future ethics research in the marketing field are included. (shrink)

ArgumentFrom 1924 to 1948, developmental psychologist Arnold Gesell regularly used photographic and motion picture technologies to collect data on infant behavior. The film camera, he said, records behavior “in such coherent, authentic and measurable detail that... the reaction patterns of infant and child become almost as tangible as tissue.” This essay places his faith in the fidelity and tangibility of film, as well as his use of film as evidence, in the context of developmental psychology's professed need for legitimately scientific (...) observational techniques. It also examines his use of these same films as educational material to promote his brand of scientific child rearing. But his analytic techniques – his methods of extracting data from the film frames – are the key to understanding the complex relationship between his theories of development and his chosen research technology. (shrink)

In this essay, I identify an important problem that has plagued virtue ethics since its inception and offer something of a solution. The problem to which I refer is the inability of many virtue ethicists to understand properly the relationship between law and virtue. This essay will unfold in four sections. First, we will discuss the causes of this inability among virtue ethicists to see clearly the connection between law and virtue. We will focus on the work of Rosalind Hursthouse (...) and argue that she does not adequately understand the political dimension of human nature. Second, we will draw upon both Aristotle and Thomas Aquinas, two crucial sources for virtue ethics, to understand how law functions as a necessary foundation for virtue; we will argue that law is a training in and support for virtuous action, while virtue in turn perfects the law by bringing out its full dynamism and intelligibility. Third, we will continue to discuss Aristotle’s understanding of law and virtue by appealing to his distinction between natural and legal justice, and we will offer an Aristotelian account of how one comes to know the natural law. Finally, fourth, we will develop points from the ancient craft analogy to virtue. Just as skillful activity is founded upon rules but transcends mechanical rule-following behavior, so too virtuous actions are founded upon law but transcend mere law-abiding behavior. This section shows that our account does not violate the so-called “non-codifiability” thesis, nor does it fall into law or rule “fetishism.”. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy: free speech fallacy (FS). The FS consists in thinking one's political right to freedom of expression includes protection from criticism. Those who commit this fallacy allege that critical scrutiny is either tantamount to censorship or equivalent to the imposition of one's views on others. The error in the fallacy is that the freedom of expression includes critical expressions. The trouble with the argument is that freedom of expression does (...) not mean freedom from criticism. The first distortion concerns the logical consequences of criticism. The second distortion confuses logical implications of criticism with the criticism itself. The FS thus takes the personal implications, necessary though they may be, as the defining features of criticism, when they are merely incidental. (shrink)

Epictetus’ Enchiridion ends with a paradox—that the methods one learns to do philosophy have results contrary to one’s reasons to do philosophy. One comes to philosophy to improve one’s life, to live with wisdom. This requires that one find truths to live in light of, and in order to find those truths, one must perfect one’s reason. And to perfect one’s reason, one must attend to technical details of reasoning and metaphysics. The trouble is, in attending to these technical details, (...) we develop the capacity for rationalization and find ways to prevent our journey to wisdom. Because we are not wise, we misuse the tools of wisdom. And so the Stoic methodological priority of learning logic first has a downstream consequence of standing in the way of what is of first importance for Stoic philosophy, the life of wisdom. The Enchiridion closes with the reminder that Stoic program must proceed in light of mitigating this conflict of methodological and valuational priority. (shrink)

This chapter deals with one of the common fallacies in Western philosophy called “Straw Man”. How one can straw man someone's view or argument happens in many ways. The chapter focuses on three ways. The first is the representational straw man fallacy. The second form of the straw man fallacy is that of the selectional straw man, or better the weak man. The third is what we will call the hollow man. The straw manning requires a form of misrepresentation of (...) the overall intellectual situation in an area of dispute. Straw man arguments not only produce bad argumentative results at the times they are given, but they have lasting repercussions on the communities they convince. Straw manning depends on us being unaware of a misrepresentation of opponents, and the only way to detect that is to know what the correct representation is. (shrink)