Biological evolution provides a creative fount of complex and subtle adaptations, often surprising the scientists who discover them. However, because evolution is an algorithmic process that transcends the substrate in which it occurs, evolution’s creativity is not limited to nature. Indeed, many researchers in the field of digital evolution have observed their evolving algorithms and organisms subverting their intentions, exposing unrecognized bugs in their code, producing unexpected adaptations, or exhibiting outcomes uncannily convergent with ones in nature. Such stories routinely reveal (...) creativity by evolution in these digital worlds, but they rarely fit into the standard scientific narrative. Instead they are often treated as mere obstacles to be overcome, rather than results that warrant study in their own right. The stories themselves are traded among researchers through oral tradition, but that mode of information transmission is inefficient and prone to error and outright loss. Moreover, the fact that these stories tend to be shared only among practitioners means that many natural scientists do not realize how interesting and lifelike digital organisms are and how natural their evolution can be. To our knowledge, no collection of such anecdotes has been published before. This paper is the crowd-sourced product of researchers in the fields of artificial life and evolutionary computation who have provided first-hand accounts of such cases. It thus serves as a written, fact-checked collection of scientifically important and even entertaining stories. In doing so we also present here substantial evidence that the existence and importance of evolutionary surprises extends beyond the natural world, and may indeed be a universal property of all complex evolving systems. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Stanley Cavell isn't the first to arrive at philosophy through a life with music. Nor is he the first whose philosophical practice bears the marks of that life. Much of Cavell's life with music is confirmed for the world in his philosophical autobiography Little Did I Know. A central moment in that book is Cavell's describing the realization that he was to leave his musical career behind – for what exactly, he did not yet know. He connects the memory-shock (...) of this leaving with "the work of mourning." How does such a life out of music inform Cavell's philosophical sensibility? The thought I follow in this essay is that Cavell's distinctive orientation in philosophy – call this his lifelong coming to terms with his abandoning a life in music – is guided in part by an interest in those moments in experience where words seem to run out, or veer toward nonsense, leaving in their wake touchstones of ecstasy. I explore this idea by summarizing my exchange with Stanley Cavell years ago when I asked him whether certain passages from his essay "Music Discomposed" are depictions of the unsayable. Cavell's response is elaborated, or qualified, by considering a pair of moments in Little Did I Know where words appear to run out. I conclude by discussing culminating thoughts on the burden borne by words and their failure that appear in Cavell's late essay on music, "Impressions of Revolution.". (shrink)

Nothing I wrote in Is There a Text in This Class? has provoked more opposition or consternation than my claim that the argument of the book has no consequences for the practice of literary criticism.1 To many it seemed counterintuitive to maintain that an argument in theory could leave untouched the practice it considers: After all, isn’t the very point of theory to throw light on or reform or guide practice? In answer to this question, I want to say, first, (...) that this claim is unsupportable. Here, I am in agreement with Steven Knapp and Walter Benn Michaels, who are almost alone in agreeing with me and who fault me not for making the “no consequences” argument but for occasionally falling away from it. Those dislike Is There a Text in This Class? tend to dislike “Against Theory” even more, and it is part of my purpose here to account for the hostility to both pieces. But since the issues at stake are fundamental, it is incumbent to begin at the beginning with a discussion of what theory is and is not. 1. See my Is There a Text in This Class?: The Authority of Interpretive Communities , p. 370. For a response to the “no consequences” claim, see Mary Louise Pratt, “Interpretive Strategies/Strategic Interpretations: on Anglo-American Reader Response Criticism,” Boundary 2 11 : 222. Stanley Fish is the William Kenan, Jr., Professor of English and the Humanities at the Johns Hopkins University. His most recent contributions to Critical Inquiry are “Profession Despise Thyself: Fear and Self-Loathing in Literary Studies” and “Fear of Fish:”A Reply to Walter Davis” . The present essay is the concluding chapter of Change. (shrink)

From 1995 to 2013, Stanley Fish's provocative New York Times columns consistently generated passionate discussion and debate. In Think Again, he has assembled almost one hundred of his best columns into a thematically arranged collection with a substantial new introduction that explains his intention in writing these pieces and offers an analysis of why they provoked so much reaction. Some readers reported being frustrated when they couldn’t figure out where Fish, one of America’s most influential thinkers, stood on the (...) controversies he addressed in the essays—from atheism and affirmative action to plagiarism and postmodernism. But, as Fish says, that is the point. Opinions are cheap; you can get them anywhere. Instead of offering just another set of them, Fish analyzes and dissects the arguments put forth by different sides—in debates over free speech, identity politics, the gun lobby, and other hot-button topics—in order to explain how their arguments work or don’t work. In short, these are essays that teach you not what to think but how to think more clearly. Brief and accessible yet challenging, these essays provide all the hard-edged intellectual, cultural, and political analysis one expects from Fish. At the same time, the collection includes a number of revealing and even poignant autobiographical essays in which, as Fish says, "readers will learn about my anxieties, my aspirations, my eccentricities, my foibles, my father, and my obsessions—Frank Sinatra, Ted Williams, basketball, and Jews." Reflecting the wide-ranging interests of one of today's leading critics, this is Fish’s broadest and most engaging book to date. (shrink)

"In 'I Don't Know, Just Wait: Remembering Remarriage in Eternal Sunshine of the Spotless Mind', William Day shows how Kaufman's Eternal Sunshine of the Spotless Mind should be considered part of the film genre known as remarriage comedy; but he also shows how Kaufman contributes something new to the genre. Day addresses, in particular, how the conversation that is the condition for reunion involves discovering 'what it means to have memories together as a way of learning how to be together'. (...) One of the most innovative aspects of Kaufman's filmic representation of such a conversation is its effect on the audience: how the narrative structure 'replicates for the viewer the felt contingency of memory that we attribute' to the characters we see onscreen - a couple contending with the interrelated experiences of remarriage and remembering." --David LaRocca, Introduction to The Philosophy of Charlie Kaufman, 12. (shrink)

This is the first volume of a two-volume set containing the most important secondary literature on Hume on Religion (Volume 2, to be published in August 1996, deals with general remarks on Hume and Natural Religion). Focusing on responses to the Essay on Miracles , the material included in this volume ranges from 1751 to 1883. Authors include: T. Rutherford, William Adams, John Leland, George Campbell, Revd. S. Vince, John Hollis, Revd. James Somerville, Dr. Wately, Revd. A. C. L. D'Arblay, (...) Revd. Francis Kilvert, Malthus, Joseph Napier, Joseph Mazzini Wheeler, Sir Edmund Beckett, James McCosh, and Huxley. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Self-Interest and Public Interest m Shaftesbury's Philosophy STANLEY GREAN THE SEV~NTEENTrt-CV.NTVRYproblem of the relationship of self-interest and public interest was carried over by the third Earl of Shaftesbury into the eighteenth century where it became a major issue for generations of British moralists. His own preoccupation with the problem began at an early date in his career, for the lnquiry Concerning Virtue or Merit (1699), the first draft (...) of which he wrote in his twenties, deals with it at length,1 and it is, according to him, the "main problem" of that work. This interest must have been deepened by his knowledge and experience of the bitter and tumultuous factional strife of the seventeenth century. There was also a family tradition of public life, the first Earl having been one of the foremost statesmen in the third quarter of the seventeenth century. The third Earl himself was briefly a figure of some importance on the political scene, serving in Parliament for two sessions? Something of Shaftesbury's character and point of view is revealed in the independent position which he took on certain issues during this time. With the emergence of the Whig and Tory parties a new emphasis was being placed on party organization. The principle of party loyalty "was indeed the only loyalty that was practised by some very important statesmen in the reigns of James, William and Anne.''s Though in general Shaftesbury supported Whig principles and policies, he refused to follow the Whig "party line" on every issue even though sometimes bitterly censured for failing to do so.4 Shaftesbury held that a legislative proposal should be judged on its own merits and not by its source? While recognizing t The first publication of the Inquiry was apparently unauthorized. A revised form appeared as Treatise IV in the 1711 edition of Characteristics. 2In the Commons, 1695-1698, and the Lords, 1700-1701. Ill health forced his retirement from politics. s George M. Trevelyan, History of England (3 vols.; New York: 1952), II, 260. 4Anthony, Earl of Shaftesbury, The Life, Unpublished Letters, and Philosophical Regimen, ed. Benjamin Rand (London: 1900), p. 300. Referred to henceforth as LiIe, Letters. See the comment by the fourth Earl in Life, Letters, pp. xxi-xxii; also Thomas Fowler, Shaftesbury and Hutcheson (New York: 1883), pp. 10-12. [37] 38 HISTORY OF PHILOSOPHY the social value of political parties, it was consistent with Shaftesbury's theory that he insisted that party loyalty must at times be superseded by loyalties to larger interests or to the larger community of which one is a member. In his writings Shaftesbury carried on a continual campaign against the type of reductionism which seeks to explain all human behavior by "that one principle and foundation of a cool and deliberate selfishness.''8 Thus, he attacks Epicurus and Lucretius among the ancients, and Hobbes, Lord Rochester, and La Rochefoucault among the moderns. For these "narrowminded philosophers," "interest, interest comes in ever and anon, and must seem a kind of key to things with which it has nothing to do."' One of Shaftesbury's lines of attack is to point out that psychological egoism, when pressed, proves to be meaningless. If everything one does is attributed to self-interest, he asks, what meaning does the tertn "self-interest" have? If there is no real alternative to egoism, and all actions are equally egoistic, then the very term "egoism" loses significance. It would apparently be impossible to be more or less self-centered. Thus, we would lose an important practical principle of differentiation. The English philosopher pictures the defenders of egoism as saying: "Act as disinterestedly or generously as you please, self still is at the bottom, and nothing else." Now if these gentlemen who delight so much in the play of words, but are cautious how they grapple closely with definitions, would tell us only what self-interest was, and determine happiness and good, there would be an end of this enigmatical wit. For in this we should all agree, that happiness was to be pursued, and in fact was always sought after; but whether found in following Nature, and giving way to... (shrink)

In *Here and There*, Stanley Cavell suggests that music, like speech, implicates the listener, so that our descriptions of music "are to be thought of not as discoveries but as impressions and assignments of meaning." Such impressions express what "makes an impression upon us," "what truly matters to us." Moreover, this aspect of music "is itself more revolutionary than ... any political event of which it could be said to form a part." I offer one indication of that significance (...) by considering a recent challenge to an old claim about the relation between jazz and democracy. Stanley Crouch claims that jazz practice is an emblem of democracy, while Benjamin Givan observes the undemocratic, hierarchical way that jazz musicians work together. But both positions rest on a limited notion of "democracy." I contrast it to the tradition in political thought that requires each citizen to find their own voice if they're to acquire the ability to govern themselves. Consequently, a better emblem of jazz's democratic advance lies in the challenge it presents to the attentive listener. Jazz listening is increasingly characterized by a learned culture of hearing what isn't played, hearing allusions, hearing unspoken interplay. The nature of this "hearing between the lines" parallels the tradition of esoteric writing in the history of political thought. It suggests that jazz's democratic importance is found in the listener's willingness to give voice to what she hears, not knowing whether her experience is shared by others or whether it singles her out, possibly for skepticism or ridicule. (shrink)

Frontiers of Consciousness is a study of the problem of consciousness in a historic period of revolutionary change, and an authentic example of “interdisciplinary studies.” The book contains a wealth of insight into the conceptual interrelationships between the work of the American philosophers who have been called the Builders (William James, Josiah Royce, Charles Peirce, and John Dewey) and the work of three great modernist poets (T. S. Eliot, Wallace Stevens, and William Carlos Williams).

Book Three of George Santayana's letters covers a period of intense intellectual activity in Santayana's life, and the correspondence reflects the establishment of his mature philosophy. Santayana becomes more permanently established in Italy, but continues to travel in France, Spain, and England. The year 1927 marks the beginning of his long friendship with Daniel Cory, who became his literary secretary and eventually his literary executor. Also, with the death of Santayana's half-brother Robert, George Sturgis, Robert's son, becomes an important part (...) of Santayana's life and letters as his financial manager. Santayana continues to write to his sister Susana, as well as to numerous friends and fellow philosophers, including Bernard Berenson, Robert Seymour Bridges, Curt John Ducasse, John Erskine, Horace Meyer Kaller, Lewis Mumford, George Herbert Palmer, John Francis Stanley Russell, Herbert Wallace Schneider, Charles Augustus Strong, Paul Weiss, and Harry Austryn Wolfson. Other correspondents include Wendell T. Bush, Alys Gregory, Marianne Moore, John Middleton Murray, and Frederick J. E. Woodbridge. (shrink)

Wittgenstein's lack of sympathy for Shakespeare's works has been well noted by George Steiner and Harold Bloom among others. Wittgenstein writes in 1950, for instance: "It seems to me as though his pieces are, as it were, enormous sketches, not paintings; as though they were dashed off by someone who could permit himself anything, so to speak. And I understand how someone may admire this & call it supreme art, but I don't like it." Of course, the animosity of one (...) great mind for another has its own interest. But the interest here is increased by two factors: (1) Wittgenstein's brief but specific critique of Shakespeare's similes, of interest particularly since he identifies his own philosophical strength half-deprecatingly but still seriously as one of crafting beautiful similes; and (2) Wittgenstein's and Shakespeare's shared concern, as revealed in Stanley Cavell's writings, with the human impulse to skepticism. The present paper considers the importance of these two factors in weighing Wittgenstein's judgment. It suggests that Wittgenstein's frequent charge that Shakespeare is "completely unrealistic" is not a misunderstanding of the Bard (Wittgenstein distinguishes his "failure to understand" from others' willingness to misunderstand Shakespeare) but rather an expression of Wittgenstein's anxiety over Shakespeare's wholly original use of language to represent the sound of the raw motives to skepticism. (shrink)

Introduction: how John the Baptist kept his head, or my life in film philosophy -- A philosophical perspective. Why not realize your world? -- Silence and stasis -- Film and modernity -- André Bazin as Cavellian realist -- On Stanley Cavell's band wagon -- What becomes of the camera in the world on film? -- Studies in criticism. "I never thought I would sink so low as to become an actor": John Barrymore in Twentieth century -- James Stewart in (...) Vertigo -- Hats off to George Cukor! -- Woody Allen's New York -- Blood is thicker than water: the family in Hitchcock -- Space and speech in the films of Yasujiro Ozu -- Romance, eroticism and the camera's gaze in Jean Genet's Un chant d'amour -- Face to face with Chantal Akerman -- Precious memories in philosophy and film -- Seeing the light in The tree of life -- A film that is also a handshake: philosophy in the films of the Dardenne Brothers -- Justifying justified -- Documentary film in Boston in the 1970s and 1980s -- Sometimes daddies don't talk about things like that -- Jean Rouch as film artist -- Dancing with Gardner: Robert Gardner's films on art -- Dead birds re-encountered: a journey of return -- Notes on the essays. (shrink)

The French liberal school, the school of Frédéric Bastiat, thoroughly dominated economics in France for most of the nineteenth century. In addition, the school exercised a profound influence on the development of nineteenth-century economic theory outside France, particularly in countries such as Italy, Germany and Austria where its merits were recognized by eminent Continental marginalists including Böhm-Bawerk, Cassel, Wicksell and Pareto. In the United States, Great Britain and Australia, also, the school inspired a number of important economic theorists and movements (...) such as William Stanley Jevons and the American catallactic tradition. Yet despite its significant international influence, the school has been almost completely neglected by Englishspeaking economists and doctrinal scholars after World War One. In this paper, I suggest that the resolution of this puzzle lies in a conjunction of peculiar institutional and doctrinal circumstances that accompanied the professionalization of economics in France, Great Britain and the United States.L’école libérale française, celle de Frédéric Bastiat, domina totalement la pensée économique en France pendant une majeure partie du dixneuvième siècle. De plus, l’école exerça une influence profonde sur le développement de la théorie économique à l’extérieur de la France, en particulier dans des pays tels que l’Allemagne et l’Autriche. Dans ces pays, les mérites de l’école furent reconnus par des marginalistes continentaux aussi éminents que Böhm-Bawerk, Cassel, Wicksell et Pareto. L’école inspira aussi un nombre important d’économistes et de mouvements aux Etats-Unis, en Angleterre et en Australie tels que William Stanley Jevons et la tradition catallactique américaine. Néanmoins, en dépit de cette influence internationale, l’école a été presque totalement négligée par les économistes de langue anglaise et par les penseurs doctrinaux après la première guerre mondiale. Dans cet article, l’auteur suggère que la solution à cette énigme se trouve dans la conjonction de circonstances institutionnelles et doctrinales particulières qui accompagna la professionnalisation de l’économie en France, en Grande- Bretagne et aux Etats-Unis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Professional Correctness: Literary Studies and Political ChangeWilliam WalkerProfessional Correctness: Literary Studies and Political Change, by Stanley Fish; xi & 146 pp. Oxford: Clarendon Press, 1995, $22.00 paper.Our greatest living Miltonist, Professor Fish, continues to address the most hotly contested issues of the profession of literary criticism in prose which, if perhaps not quite the best in Anglo-American literary studies as he once judged it to be, is (...) certainly distinguished by coherence, power, and wit. In this version of material he presented in a workshop at the Folger Library in 1990 and as the Clarendon Lectures at Oxford University in 1993, Fish analyzes the relationship between literary criticism and political change. By literary criticism, he means the activity of determining what a literary text means. According to Fish, while in the eighteenth century just about any kind of commentary on literature counted as literary criticism, the determination of the meaning of literature is the essential job of literary criticism in the twentieth century. By political change, Fish means changes in things such as the way governments spend money, treat their citizens and foreign governments, establish the civil law, and appoint people to office. The major claim of the book is that doing literary criticism in the United States today rarely causes political change. The counsel he offers to all those literary critics who want to bring about political change through their literary work is thus to find a new job: “if you want to send a message that will be heard beyond the academy, get out of it” (p. 2).But why can’t observing that Lycidas means that Milton is afraid of women help to overthrow patriarchy and the legal/cultural system which continues to perpetuate it? Because, Fish claims, “there are, at present, no well-established routes by which literary criticism is first brought to the attention of those who inhabit the centers of power and then presented to them in a way that ties it to their concerns” (p. 52). That is to say that it is because American society is structured in a particular way that literary interpretive acts are politically inconsequential. Though he does not provide much evidence for this big claim about the structure of American society and its relation to literary criticism, Fish does support it by asking us to see the absurdity of imagining otherwise: “think about it. You are about to open a new business or introduce a bill in Congress or initiate an advertising campaign, but you pause to ask yourself, ‘What would the readers of Diacritics say?’” (p. 91). This is not to say that the segregation of literary work from political work is a given of the human condition. Fish cites Renaissance England and contemporary Israel as cases of societies structured in such a way that literary acts have immediate and important political consequences (though literary acts and political acts in these societies are still clearly distinct because their purposes are still different). The point is just that, because American society is currently structured as it is, the activity of identifying the meaning of works of literature is rarely [End Page 544] relevant to political change. The point holds even when one shifts the center of literary work from determining the meaning of literature to (i) observing how literature and the act of professing it are deeply implicated in society-wide structures of power and legitimization, or (ii) observing and “transcending” the boundaries between literary criticism and other disciplines. That is to say that even if one were to transform literary criticism in the way new historicists and several proponents of cultural studies whom Fish cites propose, work in this discipline would still rarely cause significant political change. For the contingent fact is that, regardless of what academics do, think they do, and intend to do, “no one cares very much about literary criticism outside the confines of its professional practice” (p. 55).But if literary criticism cannot, at least for the moment in the U.S., do significant political work, and if, as Fish also claims, it cannot do significant moral, cultural work (making people better, preserving the best that is said... (shrink)

Girard’s maxim, that Peano Arithmetic is a theory of one inductive definition, is re-examined in the light of a weak theory EA formalising basic principles of Nelson’s predicative Arithmetic.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The purpose of this paper is to describe how Sally Gadow's perspectives on existential advocacy as the moral framework for the nurse–patient relationship were synthesized with a general theory of motivation, self‐determination theory (SDT), to inform the design of a study in which the influence of interpersonal care on the process of tobacco dependence treatment was explored. Consistent with the tenets of existential advocacy, participants who perceived their care providers as interpersonally sensitive and bringing more of their whole selves to (...) the care encounter reported more autonomous motivation and felt competence for stopping smoking. The integration of existential advocacy with SDT, which led to the empirical work in which Gadow's ideas were actualized and her model supported, is described. Study findings are discussed in light of Gadow's philosophical views, and implications for nursing highlighted. (shrink)

G. E. Moore observed that to assert, 'I went to the pictures last Tuesday but I don't believe that I did' would be 'absurd'. Over half a century later, such sayings continue to perplex philosophers. In the definitive treatment of the famous paradox, Green and Williams explain its history and relevance and present new essays by leading thinkers in the area.

What can--and what can't--philosophy do? What are its ethical risks--and its possible rewards? How does it differ from science? In Philosophy as a Humanistic Discipline, Bernard Williams addresses these questions and presents a striking vision of philosophy as fundamentally different from science in its aims and methods even though there is still in philosophy "something that counts as getting it right." Written with his distinctive combination of rigor, imagination, depth, and humanism, the book amply demonstrates why Williams was (...) one of the greatest philosophers of the twentieth century. Spanning his career from his first publication to one of his last lectures, the book's previously unpublished or uncollected essays address metaphysics, epistemology, and ethics, as well as the scope and limits of philosophy itself. The essays are unified by Williams's constant concern that philosophy maintain contact with the human problems that animate it in the first place. As the book's editor, A. W. Moore, writes in his introduction, the title essay is "a kind of manifesto for Williams's conception of his own life's work." It is where he most directly asks "what philosophy can and cannot contribute to the project of making sense of things"--answering that what philosophy can best help make sense of is "being human." Philosophy as a Humanistic Discipline is one of three posthumous books by Williams to be published by Princeton University Press. In the Beginning Was the Deed: Realism and Moralism in Political Argument was published in the fall of 2005. The Sense of the Past: Essays in the History of Philosophy is being published shortly after the present volume. (shrink)

This book is a comprehensive and unique text and reference in medical ethics. By far the most inclusive set of primary documents and articles in the field ever published, it contains over 100 selections. Virtually all pieces appear in their entirety, and a significant number would be difficult to obtain elsewhere. The volume draws upon the literature of history, medicine, philosophical and religious ethics, economics, and sociology. A wide range of topics and issues are covered, such as law and medicine, (...) truth-telling by the physician, research, population policy, genetics, abortion, dying, and individual rights in medical care. The selections span the centuries, beginning with material from the works of Hippocrates, continuing through Thomas Percival, John Stuart Mill, and Claude Bernard, down to modern commentators like Henry K. Beecher, Walsh McDermott, David L. Bazelon, Paul Freund, H. L. A. Hart, John Rawls, Paul Ramsey, Richard McCormick, Rashi Fein, and Bernard Barber. The text has eight major divisions, beginning with sections on the ethical dimensions of the physician-patient relationship in history; the moral bases of medical ethics; and regulation, compulsion, and protection of the consumer in clinical medicine and public health. Each of these sections includes key essays that appear for the first time. All of the book's major divisions contain primary documents: codes such as the Hippocratic Oath, Medieval Law for the Regulation of Medicine, and the first as well as the most recent code of the American Medical Association; court decisions, including those on Karen Quinlan and on abortion in the United States and West Germany; government documents such as the statement of the National Commission on the Protection of Human Subjects, the Tuskegee Syphilis Report, the British Parliamentary debate on euthanasia, and the Council of Europe on rights of the sick and dying; and various published guidelines such as the Harvard Medical School brain death criteria, the American Hospital Association on patient's rights, and Pope Pius XII on the prolongation of life. Cases that illustrate moral dilemmas are provided for discussion purposes. Each section is preceded by a succinct editor's introduction. The documents and essays are of practical value for practitioners and students in medicine, law, ethics, and counselling, and for individual patients and groups concerned with medical care. Through encompassing divergent viewpoints, the essays and primary documents were selected to encourage humane practices and deepen understanding of the multiple traditions that shaped and do shape the development of medicine. (shrink)

What can--and what can't--philosophy do? What are its ethical risks--and its possible rewards? How does it differ from science? In Philosophy as a Humanistic Discipline , Bernard Williams addresses these questions and presents a striking vision of philosophy as fundamentally different from science in its aims and methods even though there is still in philosophy "something that counts as getting it right." Written with his distinctive combination of rigor, imagination, depth, and humanism, the book amply demonstrates why Williams (...) was one of the greatest philosophers of the twentieth century. Spanning his career from his first publication to one of his last lectures, the book's previously unpublished or uncollected essays address metaphysics, epistemology, and ethics, as well as the scope and limits of philosophy itself. The essays are unified by Williams's constant concern that philosophy maintain contact with the human problems that animate it in the first place. As the book's editor, A. W. Moore, writes in his introduction, the title essay is "a kind of manifesto for Williams's conception of his own life's work." It is where he most directly asks "what philosophy can and cannot contribute to the project of making sense of things"--answering that what philosophy can best help make sense of is "being human." Philosophy as a Humanistic Discipline is one of three posthumous books by Williams to be published by Princeton University Press. In the Beginning Was the Deed: Realism and Moralism in Political Argument was published in the fall of 2005. The Sense of the Past: Essays in the History of Philosophy is being published shortly after the present volume. (shrink)

Pt. I. Writings on the theory of logic: I. Pure logic or the logic of quality apart from quantity. II. The substitution of similars. III. On the mechanical performance of logical inference. IV. On a general system of numerically definite reasoning.--Pt. II. John Stuart Mill's philosophy tested: I. On geometrical reasoning. II. On resemblance. III. The experimental methods. IV. Utilitarianism. V. On the method of difference.

Preadolescence is an important period for the consolidation of certain arithmetic facts, and the development of problem-solving strategies. Obese subjects seem to have poorer academic performance in math than their normal-weight peers, suggesting a negative effect of obesity on math skills in critical developmental periods. To test this hypothesis, event-related potentials were collected during a delayed-verification math task using simple addition and subtraction problems in obese [above 95th body mass index percentile] and non-obese preteens with different levels of math skill; (...) thirty-one with low math skills and thirty-one with high math skills. No significant differences between weight groups were observed in task accuracy regardless of their mathematical skill level. For ERPs, electrophysiological differences were found only in the subtraction condition; participants with obesity showed an electrophysiologic pattern associated with a reduced ability to allocate attention resources regardless of their math skill level, these differences were characterized by longer P300 latency than their normal-weight peers. Moreover, the participants with obesity with high math skills displayed hypoactivity in left superior parietal lobule compared with their normal-weight peers. Additionally, obese preteens with low math skills displayed smaller arithmetic N400 amplitude than non-obese participants, reflecting difficulties in retrieving visual, semantic, and lexical information about numbers. We conclude that participants with obesity are less able than their normal-weight peers to deploy their attention regardless of their behavioral performance, which seems to have a greater effect on obese participants with low math skills because they also show problems in the retrieval of solutions from working memory, resulting in a delay in the development of mathematical skills. (shrink)