ABSTRACTIn Democracy for Realists, Christopher Achen and Larry Bartels argue that voters are shortsighted and punish incumbents for politically irrelevant outcomes. These failings, in the authors’ view, mean that voters are incapable of holding politicians to account. But Achen and Bartels overstate voters’ failure to engage in effective retrospective voting. The authors also understate the degree to which accountability can be compatible with voters’ being myopic, such as when early- and late-term performance are correlated. Achen and Bartels also overlook evidence (...) that the American state acted as an insurer against social risk long before the New Deal, a fact that points to voters using relevant criteria when they appear to punish incumbents for natural disasters. Finally, while accountability is an important consequentialist reason for democracy, we should keep in mind non-consequentialist justifications for this system of government, in particular its instantiation of political equality. (shrink)

Political representation lies at the core of modern politics. Democracies, with their vast numbers of citizens, could not operate without representative institutions. Yet relations between the democratic ideal and the everyday practice of political representation have never been well defined and remain the subject of vigorous debate among historians, political theorists, lawyers, and citizens. In this volume, an eminent group of scholars move forward the debates about political representation on a number of fronts. Drawing on insights from political science, history, (...) political theory, economics, and anthropology, the authors provide much-needed clarity to some of the most vexing questions about political representation. They also reveal new and enlightening perspectives on this fundamental political practice. Topics discussed include representation before democracy, political parties, minorities, electoral competition, and ideology. This volume is essential reading for anyone interested in the ideal and the reality of political representation. (shrink)

On August 30, 2013, the American Political Science Association sponsored a roundtable on political epistemology as part of its annual meetings. Co-chairing the roundtable were Jeffrey Friedman, Department of Government, University of Texas at Austin; and Hélène Landemore, Department of Political Science, Yale University. The other participants were Scott Althaus, Department of Political Science, University of Illinois at Urbana-Champaign; Mark Bevir, Department of Political Science, University of California at Berkeley; Rogers Smith, Department of Political Science, University of Pennsylvania; and (...) class='Hi'>Susan Stokes, Department of Political Science, Yale University. We thank the participants for permission to republish their remarks, which they subsequently edited for clarity. (shrink)

This paper presents Stoicism as, in broad historical terms, the point of origin in Western thought of an extreme form of rational essentialism that persists today in the debate over human bioenhancement. Advocates of “radical” enhancement would have us codify extreme rational essentialism through manipulation of genes and the brain to maximize rational ability and eliminate the capacity for emotions deemed unsalutary. They, like Stoics, see anger as especially dangerous. The ancient dispute between Stoics and Aristotle over the nature and (...) permissibility of anger has contemporary analogues. I argue that, on the merits, this controversy should, finally, be put to rest in Aristotle’s favor. Beyond its philosophical assets, Aristotle’s perspective meshes well with “appraisal theory” of emotion in psychology and corresponding discoveries in neuroscience. What’s more, consideration of the ongoing struggle to achieve full racial equality in the United States supports the view that anger at this ongoing gap between λόγος and ἔργον is legitimate, and has a constructive role to play in furthering liberal democracy. As we are well positioned to retire the Stoics’ legacy regarding anger, all the more should we eschew transhumanists’ proposal to implement their position biologically, at which point debate over the nature and worth of anger would be permanently moot. (shrink)

The concept of similar systems arose in physics, and appears to have originated with Newton in the seventeenth century. This chapter provides a critical history of the concept of physically similar systems, the twentieth century concept into which it developed. The concept was used in the nineteenth century in various fields of engineering, theoretical physics and theoretical and experimental hydrodynamics. In 1914, it was articulated in terms of ideas developed in the eighteenth century and used in nineteenth century mathematics and (...) mechanics: equations, functions and dimensional analysis. The terminology physically similar systems was proposed for this new characterization of similar systems by the physicist Edgar Buckingham. Related work by Vaschy, Bertrand, and Riabouchinsky had appeared by then. The concept is very powerful in studying physical phenomena both theoretically and experimentally. As it is not currently part of the core curricula of STEM disciplines or philosophy of science, it is not as well known as it ought to be. (shrink)

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between imagination (...) and creativity. (shrink)

There has been increasing attention in sociology and internet studies to the topic of ‘digital remains’: the artefacts users of social network services (SNS) and other online services leave behind when they die. But these artefacts also pose philosophical questions regarding what impact, if any, these artefacts have on the ontological and ethical status of the dead. One increasingly pertinent question concerns whether these artefacts should be preserved, and whether deletion counts as a harm to the deceased user and therefore (...) provides pro tanto reasons against deletion. In this paper, I build on previous work invoking a distinction between persons and selves to argue that SNS offer a particularly significant material instantiation of persons. The experiential transparency of the SNS medium allows for genuine co-presence of SNS users, and also assists in allowing persons (but not selves) to persist as ethical patients in our lifeworld after biological death. Using Blustein’s “rescue from insignificance” argument for duties of remembrance, I argue that this persistence function supplies a nontrivial (if defeasible) obligation not to delete these artefacts. Drawing on Luciano Floridi’s account of “constitutive” information, I further argue that the “digital remains” metaphor is surprisingly apt: these artefacts in fact enjoy a claim to moral regard akin to that of corpses. (shrink)

This chapter concerns the cognitive penetration of the visual experience of colour. Alleged cases of cognitively penetrated colour perception are of special import since they concern an uncontroversial type of visual experience. All theorists of perception agree that colour properties figure properly in the content or presentation of visual perception, even though not all parties agree that pine trees or causes or other "high-level" properties can figure properly in visual content or presentation. So an alleged case of this kind does (...) not require controversial commitments regarding the admissible contents of visual perception. The chapter clarifies this theoretical importance , identifying alleged empirical cases of cognitively penetrated colour perception, and then analyzing the implications of such cases for an epistemology of perception. (shrink)

Philosophers of mind and cognitive scientists have recently taken renewed interest in cognitive penetration, in particular, in the cognitive penetration of perceptual experience. The question is whether cognitive states like belief influence perceptual experience in some important way. Since the possible phenomenon is an empirical one, the strategy for analysis has, predictably, proceeded as follows: define the phenomenon and then, definition in hand, interpret various psychological data. However, different theorists offer different and apparently inconsistent definitions. And so in addition to (...) the usual problems (e.g., definitions being challenged by counterexample), an important result is that different theorists apply their definitions and accordingly get conflicting answers to the question “Is this a genuine case of cognitive penetration?”. This hurdle to philosophical and scientific progress can be remedied, I argue, by returning attention to the alleged consequences of the possible phenomenon. There are three: theory-ladenness of perception in contexts of scientific theory choice, a threat to the general epistemic role of perception, and implications for mental architecture. Any attempt to characterize or define, and then empirically test for, cognitive penetration should be constrained by these consequences. This is a method for interpreting and acquiring experimental data in a way that is agreeable to both sides of the cognitive penetration debate. Put crudely, the question shifts to “Is this a cognitive-perceptual relation that results in (or constitutes) one or more of the relevant consequences?” In answering this question, relative to various data, it may turn out that there is no single unified phenomenon of cognitive penetration. But this should be no matter, since it is the consequences that are of central importance to philosophers and scientists alike. (shrink)

We offer a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. We then survey some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural (as opposed to magical, occult, or supernatural) and is therefore amenable to scientific inquiry. This work is divided into two categories. The broader category is empirical philosophy, which draws on empirical research while (...) addressing questions that have traditionally been regarded as philosophical. The second category is experimental philosophy, a special branch of empirical philosophy in which experiments are designed (by philosophers) with the explicit purpose of addressing philosophical questions. All of this highlights the relative theoretical neglect of creativity, while at the same time suggesting ample opportunity for experimentally minded philosophers to break new ground. (shrink)

Social media is full of dead people. What should we do with all these digital souls? Can we delete them, or do they have a right to persist? Patrick Stokes claims that we have a moral duty towards the digital dead. Modern technology helps them to persist in various ways, but - with such developments as AI-driven chatbots simulating the dead - it also makes them vulnerable to new forms of exploitation and abuse. This provocative book explores a range (...) of questions about the nature of death, identity, grief, and the moral status of digital remains. (shrink)

This chapter analyses the views of Soren Kierkegaard about the concept of death. It examines the historical reasons why death might have featured with especial prominence in the work of a writer concerned with the parlous state of post-Hegelian Christianity and explains that Kierkegaard saw more of death before his thirtieth birthday than most people see in a lifetime. The chapter also explains the meaning of death in the mention of death in some of his works, including Either/Or, For Self-Examination, (...) and The Sickness Unto Death. (shrink)

This volume is about the many ways we perceive. Contributors explore the nature of the individual senses, how and what they tell us about the world, and how they interrelate. They consider how the senses extract perceptual content from receptoral information. They consider what kinds of objects we perceive and whether multiple senses ever perceive a single event. They consider how many senses we have, what makes one sense distinct from another, and whether and why distinguishing senses may be useful. (...) They consider the extent to which the senses act in concert, rather than as discrete modalities, and whether this influence is epistemically pernicious, neutral, or beneficial. They explore both the familiar five sense modalities and other candidate sense modalities, including a sense for flavour, inner senses (e.g., a sense for pain), and various senses that may result from using sensory substitution devices. Contributors often represent competing views, and the methods they deploy sometimes differ from one essay to the next—with some drawing upon the sciences and engineering and others relying upon conceptual analysis. All contributors agree, nonetheless, that traditional theorizing about the senses is hampered by a neglect of the senses other than vision, and by the misconception that vision is a passive receptacle for an image thrown by a lens. And many contributors believe that it is unduly restrictive to think of perception as a collation of contents provided by individual sense modalities; they think that to understand perception properly, we need to build into our accounts the idea that the senses work together. The ambition of the volume is to begin to develop better paradigms for understanding the senses, and thereby to move toward a better understanding of perception. (shrink)

This chapter offers a brief characterization of creativity, followed by a review of some of the reasons people have been skeptical about the possibility of explaining creativity. It surveys some of the recent work on creativity that is naturalistic in the sense that it presumes creativity is natural, as opposed to magical, occult, or supernatural, and is therefore amenable to scientific inquiry. The chapter divides into two categories. The broader category is empirical philosophy, which draws on empirical research while addressing (...) questions that have traditionally been regarded as philosophical. The second category is experimental philosophy, a special branch of empirical philosophy in which experiments are designed by philosophers with the explicit purpose of addressing philosophical questions. This categorization is admittedly somewhat artificial, but it is a familiar one in the prevailing division of intellectual labor, and it will be a useful organizational tool for the chapter. (shrink)

Visual forms of episodic memory and anticipatory imagination involve images that, by virtue of their perspectival organization, imply a notional subject of experience. But they contain no inbuilt reference to the actual subject, the person actually doing the remembering or imagining. This poses the problem of what (if anything) connects these two perspectival subjects and what differentiates cases of genuine memory and anticipation from mere imagined seeing. I consider two approaches to this problem. The first, exemplified by Wollheim and Velleman, (...) claims that genuinely reflexive memories and anticipations are phenomenally unselfconscious, with the co-identity of the notional and actual subjects secured by a determinate causal history. The second approach posits some distinctive phenomenal property that attaches to genuinely reflexive memories and anticipations and serves to experientially conflate the notional and actual subject. I consider a version of the second approach, derived from Kierkegaard’s discussions of phenomenal contemporaneity, and argue that this approach can better account for the possibility of affective alienation from the selves we were and will be: the way in which our sense of self and awareness of our causal history can sometimes come apart. (shrink)

According to transhumanists who urge the radical enhancement of human beings, humanity’s top priority should be engineering “posthumans,” whose features would include agelessness. Increasingly, transhumanism is critiqued on foundational grounds rather than based largely on anticipated results of its implementation, such as rising social inequality. This expansion is crucial but insufficient because, despite its radical aim, transhumanism reflects beliefs and attitudes that are evident in the broader culture. With a focus on the yearning to eliminate aging, I consider four of (...) these: a disproportionate reliance on science and technology to address major human challenges; the conceptualization of human beings in terms of binaries like “young-old”; a repudiation of vulnerability; and intensifying perfectionism. Illuminating these interlocked commitments both deepens an existing critique of transhumanism and draws our attention to deleterious cultural views that must be vigorously contested if our commitment to human flourishing is to be deep and unwavering. (shrink)

Computer programs are generating artworks of astonishing novelty and aesthetic value. By the standard definition of creativity, these programs would count as being creative. But if you still hesitate to call a program creative, that's for good reason, we argue. It's because real creativity requires AGENTS who are responsible for what they make, and it's not at all clear that these programs are agents. -/- (The title was imposed by the editor. It was supposed to be called, "ARE COMPUTERS CREATIVE?").

The book is an investigation of the semantics of numericals, counting and measuring, and its connection to the mass/count distinction from a theoretical and crosslinguistic perspective. It reviews some recent major linguistic results in these topics, and presents the author's new research including in-depth case studies of a number of typologically unrelated languages.

A nativist moral psychology, modeled on the successes of theoretical linguistics, provides the best framework for explaining the acquisition of moral capacities and the diversity of moral judgment across the species. After a brief presentation of a poverty of the moral stimulus argument, this chapter sketches a view according to which a so-called Universal Moral Grammar provides a set of parameterizable principles whose specific values are set by the child's environment, resulting in the acquisition of a moral idiolect. The principles (...) and parameters approach predicts moral diversity, but does not entail moral relativism. (shrink)

Nature, as Spinoza conceives of it, contains individual things or finite modes, each with its own essence. Although we humans classify individuals into kinds, Spinoza is adamant that the resulting types or species “are nothing”. Despite Spinoza's nominalism, his mature works posit differences between animal kinds that are discoverable by reasoning and available to philosophical understanding. Spinoza's world is fluid in the sense that the powers of individuals are in flux, changing as they interact with one another. In Spinoza's view, (...) changes in an individual's power are typically the effects of its interactions with external things. Spinoza contrasts the affective dynamics between human natures with a lack of affective commonality between humans and other kinds of animals. In his political works Spinoza translates his account of natures or essences into juridical terms. The claim that mutual sociability is what makes an animal kind is of a piece with the rest of Spinoza's philosophy. (shrink)

Reading Feminist Theory: From Modernity to Postmodernity interweaves classical and contemporary writings from the social sciences and the humanities to represent feminist thought from the late eighteenth century to the present. Editors Susan Archer Mann and Ashly Suzanne Patterson pay close attention to the multiplicity and diversity of feminist voices, visions, and vantage points by race, class, gender, sexuality, and global location. Along with more conventional forms of theorizing, this anthology points to multiple sites of theory production--both inside and (...) outside of the academy--and includes personal narratives, poems, short stories, zines, and even music lyrics. Offering a truly global perspective, the book devotes three chapters and more than thirty readings to the topics of colonialism, imperialism and globalization. It also provides extensive coverage of third-wave feminism, poststructuralism, queer theory, postcolonial theory, and transnational feminisms. (shrink)

If you're woke, you're left. If you're left, you're woke. We blur the terms, assuming that if you're one you must be the other. That, Susan Neiman argues, is a dangerous mistake. The intellectual roots and resources of wokeism conflict with ideas that have guided the left for more than 200 years: a commitment to universalism, a firm distinction between justice and power, and a belief in the possibility of progress. Without these ideas, Neiman argues, they will continue to (...) undermine their own goals and drift, inexorably and unintentionally, towards the right. In the long run, they risk becoming what they despise. One of the world's leading philosophical voices, Neiman makes this case by tracing the malign influence of two titans of twentieth-century thought, Michel Foucault and Carl Schmitt, whose work undermined ideas of justice and progress and portrayed social life as an eternal struggle of us against them. A generation schooled with these voices in their heads, raised in a broader culture shaped by the ruthless ideas of neoliberalism and evolutionary psychology, has set about changing the world. It's time they thought again. (shrink)

A unique and interdisciplinary collection in which scholars from Philosophy join those from Film Studies, English, and Comparative Literature to explore the nature and limits of love through in-depth reflection on particular works of literature and film.

This original and authoritative book offers a first-ever attempt to define a poetics of the editing arts. It proposes a new field of editing studies, in which the 'ideal editor' can be understood in relation to the long-theorised author and reader. The book's premise is that editing, like other forms of 'making', is mostly invisible and can only be brought into full view through a comparative analysis that includes the insights of practitioners. The argument, laid down in careful layers, is (...) supported by a panoramic historical narrative that tracks the shifts in textual authority from religious and secular institutions to the romanticised self of the digital present. The dangers posed by the anti-editing rhetoric of this hybrid romanticism are confronted head-on. To the traditional perception of editing as the imposition of closure, A Poetics of Editing adds a perspective on a dynamic process with a sense of the possible. (shrink)

This article explores the management and organisational context for capturing and retaining knowledge transferred through the design process. It is widely acknowledged that our ability to successfully organise and transfer design knowledge is dependant upon the context in which it is situated. However the knowledge generated through the creative process is often viewed from the perspective of the artefact rather the process itself. An understanding of the socially complex knowledge-based resources operating within design groups could enhance competitiveness and organisational development. (...) Yet, a systematic literature review of leading design and educational management journals found limited empirical evidence that shed light on the influence of knowledge management on design group performance. The article addresses this gap in the literature. Based on two in-depth case studies with interior design companies implementing new digital asset management systems over a 2-year period, the paper explores the findings in relation to design practice and policy, alongside implications for the contribution of the creative industries to the knowledge economy. (shrink)

This article provides a cross-case analysis of four art and design research centres operating within UK universities. Findings from autobiographical and semi-structured interviews with researchers, research managers, and research leaders indicate that they encounter similar issues in trying to establish internal legitimacy within the university alongside the need to gain external support and recognition. In dealing with these challenges, art and design research centres tend to pass through four broadly identifiable phases: (i) Origination (utilising credentials and leadership capacity), (ii) Establishment (...) (securing resources and embedding dedicated systems and processes), (iii) Development (furthering profile, diversifying, and retaining autonomy), and (iv) Sustainability (enhancing research culture, networks, and influence). Many interesting parallels are evident with the way small businesses strive to establish themselves within competitive market environments. Lessons for research managers and directors are explored to consider such similarities in key areas of responsibility that cover leadership, managing people and processes, developing organisational capacity, and building external networks. The research suggests research centre directors must demonstrate many intrapreneurial qualities to overcome obstacles in the development of a successful research team and that university departments can make substantial organisational interventions to help them succeed. (shrink)

Presented as a diary of a year-long search, this book explores Sabbath-keeping from the point of view of a doubting Jew trying to make sense of what has become a quaint, obsolete practice. Although the book relies upon centuries of philosophical thought, it is accessible, direct, and often humorous, aimed at others who, like Susan Pashman, cannot blindly 'obey, ' but who demand a sensible basis for their practices. Remember the Sabbath and keep it holy. What does this mean? (...) And why is it a moral obligation, ranked high on a list of commandments that includes refraining from murder, lying, cursing, and picturing God? Ultimately, Dr. Pashman decides that 'stepping back' to an objective position--the starting point for moral conduct--is the detachment that Sabbath observance demands. A Sabbath properly observed is not just a day to unplug from technology; it is a day to attentively contemplate the lives and needs of others, to take a 'God's eye' view of the world. From time to time, the journey is paused for brief personal memoirs of Pashman's Sabbath experiences over the years. These poignant, often hilarious glimpses into her life before this quest introduce the reader to her atheist grandfather, her observant Uncle Wolfie, her sly mother-in-law, her cynical older son, and her younger son whose own children, she hopes, will continue engaging with Jewish traditions. Filled with wisdom and much humor, this is a book for both contemporary, skeptical Jews seeking to preserve personal autonomy while continuing family traditions, and also for those 'spiritual seekers' of all religions in search of the rootedness that tradition supplies, without having to engage in what they might regard as hypocrisy. (shrink)

Three kinds of things may be creative: persons, processes, and products. The standard definition of creativity, used nearly by consensus in psychological research, focuses specifically on products and says that a product is creative if and only if it is new and valuable. We argue that at least one further condition is necessary for a product to be creative: it must have been produced by the right kind of process. We argue furthermore that this point has an interesting epistemological implication: (...) when you judge a product to be creative--attributing creativity--you are not just judging it to be new and valuable. Even if you did not witness how it was produced, you are also making a judgement about how it was produced. (shrink)

Antisthenes was famous in antiquity for his studies of Homer's poems, his affiliation with Gorgias and the sophistic movement, his pure Attic writing style, and his inspiration of Diogenes of Sinope, who founded the Cynic philosophical movement. Antisthenes stands at two of the greatest turning points in ancient intellectual history: from pre-Socraticism to Socraticism, and from classical Athens to the Hellenistic period. Antisthenes' works form the path to a better understanding of the intellectual culture of Athens that shaped Plato and (...) laid the foundations for Hellenistic philosophy and literature. Antisthenes of Athens keeps in mind the goals and polemics framing each philosophical and textual discussion. The volume considers the ancient traditions about Antisthenes' rejection of Plato's “Theory of Forms,” his assertion of the paradox, “It is impossible to gainsay,” and his denial that definition of essence is possible, as well as the plausible intentions of Antisthenes. In cases where these questions are not easily settled, and where modern interpretation has varied, Susan H. Prince identifies the roots of the disagreements. The goal and meaning of Antisthenes' other famous ancient paradox, “I would rather go mad than have pleasure,” is illuminated by comparison with other evidence showing that pleasure does have a place in his ideology. Evidence for his relationship to Diogenes of Sinope, and for his receptions by the Cynics, Stoics, Skeptics, Christians, and Neo-Pagans is examined for both its historical value and its distorting tendencies. (shrink)

This illuminating Research Handbook analyses the role that emotions play and ought to play in legal reasoning and practice, rejecting the simplistic distinction between reason and emotion. International expert contributors take multidisciplinary approaches, drawing on neuroscience, philosophy, literary theory, psychology, history, and sociology to examine the role of a wide range of emotions across a variety of legal contexts. Chapters consider how the rich tapestry of human emotion impacts legal actors, influences legal doctrine, and shapes the dynamics of legal institutions. (...) Moving beyond legal contexts traditionally considered rife with emotion such as the criminal law and jury trials, the Handbook explores how emotion relates to contracts, property, bankruptcy, international law, and truth and reconciliation commissions. It also reflects on the importance of research methodologies, theories, and techniques for assessing the role of emotion in the legal arena. Surveying the depth and complexity of law and emotion across a panoply of legal actions, institutional contexts, and legal doctrines, this Research Handbook will be critical reading for academics and students of legal theory and legal philosophy. Its detailed examination of emotions in the practice of private, public, international, and criminal law will also be beneficial for lawyers, judges, and policymakers. (shrink)

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Have you ever gotten chills while listening to a particularly gorgeous piece of music? Or felt a sense of calm while gazing at a painting of a serene landscape? We have experiences like those every day, but rarely stop to consider what's happening internally to cause them. In Your Brain on Art, founder of the International Arts + Mind Lab at Johns Hopkins University School of Medicine Susan Magsamen and Google designer Ivy Ross explain how, by understanding how we (...) biologically react to aesthetic experiences, we can not only heal as individuals but thrive as communities. Using the new science of neuroaesthetics, which explores our physiological reactions to art, Magsamen and Ross show us how, for instance, gardening can help a person heal from trauma or listening to a major fifth interval can snap the body out of a fight-or-flight response. Beyond enjoyment and abstraction, art can change the way we operate on a daily, practical level. And, in addition to helping each of us heal from stress, anxiety, burnout, and other malaises of modern life, neuroaesthetics can effect major change in society writ large, whether through public art murals in high-crime areas or music and dance therapy for patients experiencing neurodegenerative disorders. (shrink)

Recent years have seen educationalists turning to Emmanuel Levinas when considering the relationship between ethics and education. While it is true that Levinas never speaks of ethics in relation to the practice of classroom education, nonetheless, for Levinas, ethics is a teaching, and learning can only take place in the presence of the Other. This book considers how, within the constraints of the Irish primary school education system, teachers can develop a Levinasian approach to teaching, that affords both them and (...) the children they teach multiple opportunities throughout the school day to take up their ethical responsibility for each other as Other. Beginning from a Levinasian understanding of learning and teaching as constituting primordially relational and ethical events, and weaving the philosophies of Levinas, and the educationalists he inspires, into the approaches of philosophy with children, restorative practice, and PAX, this book suggests a unique approach to ethics in Irish primary school classrooms. The focus of this thesis, then, is on both the philosophical underpinnings that anchor teaching as a Levinasian, and a consideration of what practical approaches could be employed by the Levinasian teacher. (shrink)

Only human beings have a rich conceptual repertoire with concepts like tort, entropy, Abelian group, mannerism, icon and deconstruction. How have humans constructed these concepts? And once they have been constructed by adults, how do children acquire them? While primarily focusing on the second question, in The Origin of Concepts , Susan Carey shows that the answers to both overlap substantially. Carey begins by characterizing the innate starting point for conceptual development, namely systems of core cognition. Representations of core (...) cognition are the output of dedicated input analyzers, as with perceptual representations, but these core representations differ from perceptual representations in having more abstract contents and richer functional roles. Carey argues that the key to understanding cognitive development lies in recognizing conceptual discontinuities in which new representational systems emerge that have more expressive power than core cognition and are also incommensurate with core cognition and other earlier representational systems. Finally, Carey fleshes out Quinian bootstrapping, a learning mechanism that has been repeatedly sketched in the literature on the history and philosophy of science. She demonstrates that Quinian bootstrapping is a major mechanism in the construction of new representational resources over the course of childrens cognitive development. Carey shows how developmental cognitive science resolves aspects of long-standing philosophical debates about the existence, nature, content, and format of innate knowledge. She also shows that understanding the processes of conceptual development in children illuminates the historical process by which concepts are constructed, and transforms the way we think about philosophical problems about the nature of concepts and the relations between language and thought. (shrink)

Often a single question can spark a meaningful, fun exchange-- like "Would you apply for a job you know your friend is applying for?" Or "Should voting be mandatory?" Or what about police using facial recognition technology? Questions like these spur us to consider: What would I have done? Is there one correct answer? And ultimately: How can ethics help us navigate these situations to find the best outcome for ourselves and others? An ethicist who advises leaders and organizations worldwide, (...) Susan Liautaud asks intriguing questions that encourage lively discussion across a range of subjects, from family and friends to health and technology to politics, work, and consumer choices. She then walks through the way you might approach each situation to find the best answer for you. Grab the book, gather a few friends, and dive in!"--back cover. (shrink)