The Model of Hierarchical Complexity is introduced in terms of its main concepts, background, and applications. As a general, quantitative behavioral developmental theory, the Model enables examination of universal patterns of evolution and development. Behavioral tasks are definable and their organization of information in increasingly greater hierarchical, or vertical, complexity is measurable. Fifteen orders of hierarchical complexity account for task performances across domains, ranging from those of machines to creative geniuses. The four most complex orders are demonstrated by postformal stages (...) of thought, which measure beyond formal operations, the highest stage found by Piaget for adults. (shrink)

(2008). Genetic Engineering and the Speciation of Superions from Humans. World Futures: Vol. 64, Postformal Thought and Hierarchical Complexity, pp. 436-443.

The formal theory of the Model of Hierarchical Complexity is presented. Complexity theories generally exclude the concept of hierarchical complexity; Developmental Psychology has included it for over 20 years. It also applies to social systems and non-human systems. Formal axioms for the Model are outlined. The model assigns an order of hierarchical complexity to every task, using natural numbers, establishing a quantal notion of stage and stages of performance. This formalizes properties of stage theories in psychology. The formal theory of (...) the model enables extending the concept of hierarchical complexity to any field where tasks and their performances exist. (shrink)

(2008). The Connection Between Postformal Thought and Major Scientific Innovations. World Futures: Vol. 64, Postformal Thought and Hierarchical Complexity, pp. 503-512.

Evolution means different things at different stages of development. Higher stage explanations for it are downward assimilated at lower stages. Different scientific explanations for evolution also reflect different stages of development. Hierarchical complexity of tasks in evolution is a behavioral analytic explanation. It is selection processes of various kinds in tandem with changes in selection tasks' orders of hierarchical complexity. There is neither teleology nor evolutionary favoring of the highest stages of performance. Selection tasks at higher orders of complexity increasingly (...) decenter at all scales of behaviors from thought to history's social periods. These processes account for sociopolitical conflicts over evolution. (shrink)

(2008). Editors' Introduction to the Special Issue on Postformal Thought and Hierarchical Complexity. World Futures: Vol. 64, Postformal Thought and Hierarchical Complexity, pp. 297-304.

Selectionism addresses the process of transition or change. In its evolution, Homo Sapiens has demonstrated such transitions to more hierarchically complex stages of performance at the individual, organizational, cultural, and biological levels. Traditionally, changes in biological, cultural, organizational, and individual behavior have been studied separately, with very little overlap. The current theory integrates selectionism across these realms, while noting that in each, selectionism operates through somewhat different mechanisms. Selectionism is comprised of complex processes in which tasks of greater hierarchical complexity (...) may be selected. Increased stages of performance underlie evolution's dynamics of increased complexity. (shrink)

How is cultural progress possible? Historically, no other animal has progressed as humans have. Conventional wisdom suggests that by having language, people accumulate knowledge, which produces progress. Such Formal stage 10 wisdom begs fundamental questions. Thus, we assert the cultural necessity of levels of support, or scaffolding, for people to develop higher stages of hierarchical complexity. The resulting, wider accessibility to higher-stage action and knowledge, which requires higher stages of development to understand, enables social and scientific progress. With memes and (...) downward assimilation, larger proportions of society gain access to advanced thinking with support, in turn enabling cultural progress. (shrink)

Using ideas from evolution and postformal stages of hierarchical complexity, a hypothetical scenario, premised on genetic engineering advances, portrays the development of a new humanoid species, Superions. How would Superions impact and treat current humans? If the Superion scenario came to pass, it would be the ultimate genocidal terrorism of eliminating an entire species, Homo Sapiens. We speculate about defenses Homo Sapiens might mount. The tasks to relate two species (systems) constitutes a postformal, Metasystematic task. Developing a system of discourse (...) to prevent destruction requires postformal Paradigmatic-stage tasks. Implications are twofold: species survival and sufficient evolution to survive. (shrink)

We show 13 stages of the development of tool-use and tool making during different eras in the evolution of Homo sapiens. We used the NeoPiagetian Model of Hierarchical Complexity rather than Piaget's. We distinguished the use of existing methods imitated or learned from others, from doing such a task on one's own.

A sequential, hierarchical stage model of empathy can account for a comprehensive range of empathic behaviors. We provide an illustrative table, “Stages of Empathy,” to demonstrate how increasingly complex empathic behaviors emerge at each stage, beginning with the infant's “automatic empathy” and ending with the advanced adult's “coconstruction of empathetic reality.”.

The institutionalization of systems of informed consent in market economies has exaggerated rather than minimized the meritocractic effect of such economies. In developing economies, it may help reduce both inherent economic gaps and effects of inherited wealth. In both cases, the highest paid people are those whose performances evidence the highest hierarchical complexity, and lowest paid people have the lowest stages of performance. Society is stratified according to stage of performance. Postformal thought is more likely to develop in graduate level (...) education. Higher education has the effect of further stratifying individuals by stage of performance, rather than equalizing opportunity. (shrink)

The missing ingredients in efforts to develop neural networks and artificial intelligence (AI) that can emulate human intelligence have been the evolutionary processes of performing tasks at increased orders of hierarchical complexity. Stacked neural networks based on the Model of Hierarchical Complexity could emulate evolution's actual learning processes and behavioral reinforcement. Theoretically, this should result in stability and reduce certain programming demands. The eventual success of such methods begs questions of humans' survival in the face of androids of superior intelligence (...) and physical composition. These raise future moral questions worthy of speculation. (shrink)

The four stages of postformal thought are Systematic, Metasystematic, Paradigmatic, and Cross-Paradigmatic. Each successive stage is more hierarchically complex than the one that precedes it. Each stage uses the elements formed at the previous stage to construct more hierarchically complex elements (e.g., metasystems, paradigms). An actual instrument constructed using the Model of Hierarchical Complexity illustrates the progression in hierarchical complexity. Another example illustrates the nonlinear nature of hierarchical complexity. The distinct tasks of the four stages are described. Postformal thought benefits (...) interpersonal, societal, and academic endeavors by virtue of the kinds of tasks performed at each stage. (shrink)

We distinguish traditional cognition theories from hierarchically complex stacked neural networks that meet many of Newell's criteria. The latter are flexible and can learn anything that a person can learn, by using their mistakes and successes the same way humans do. Shortcomings are due largely to limitations of current technology.

Science requires postformal capabilities to compare competing explanations and conceptualize how to coordinate or integrate them. With conflicts thus reconciled, science advances. The Model of Hierarchical Complexity facilitates the coordination of current arguments about intelligence. A cross-species measurement theory of comparative cognition is proposed. It has potential to overcome the lack of a general measurement theory for the science of comparative cognition, and the lack of domain-general mechanisms for evolutionary psychologists. The hierarchical complexity of concepts and debates as well as (...) the new theory are scored, and demonstrate the postformal hierarchical complexity of the proposed theory. (shrink)

For economists, sustainability and environmental valuation are connected in two ways. At the micro level, proper environmental valuation is required if projects are to be approved and rejected consistently with sustainability requirements. This is cost benefit analysis. At the macro level, many take the view that sustainability requires that national income measurement be modified so as to account for environmental damage. Such natural resource accounting is possible only if environmental damage is valued for incorporation into the economic accounts. The paper (...) reviews the techniques that economists have developed for environmental valuation. In regard to cost benefit analysis and sustainability, it is noted that the technique on which most interest focuses, the Contingent Valuation Method, involves the extension of the domain of consumer demand analysis to include the natural environment. Contributions questioning the appropriateness of this are reviewed, and it is argued that they merit more attention from economists than they have received to date. In regard to natural resource accounting, it is argued that while there is little prospect of it achieving what its proponents claim for it, the modelling that it necessarily implies has the potential to both clarify valuation issues and play an important role in informing the policy process. (shrink)

Hierarchical complexity's unidimensional measurement can help rectify policy confusion and debates about democratization and terrorism reduction. Stages of political development examined using the method yield task analyses demonstrating why stages cannot be skipped or rushed. Composites of stages and societies' transitions implicate policy change for anti-corruption and nation-building. New indexes for the political domain should be developed using hierarchical complexity to account for and measure a multitude of political tasks regardless of content or context. Measurement offers a reliable, empirical basis (...) to resist attempts to rush development. Hierarchical complexity accounts for why such efforts are doomed in advance to fail. (shrink)

The evolution of humans required performing increasingly hierarchically complex tasks within multiple domains. Hierarchical complexity increases task by task. Tasks occur within, and differ by, determinable domains, their stages of performance measurable using the Model of Hierarchical Complexity. How well one performs within single and multiple domains is considered to indicate intelligence. Original task-initiation is more difficult than imitational learning and can create new domains. Levels of support reduce task difficulty, increasing performance. Task-performance may be generalized to other domains. Stages (...) of developing tools and empathy are presented to demonstrate domains' roles in the evolution of human intelligence. (shrink)

There is a dire need today to create spaces in which people can make meaning of their existence in the world, abiding by cultural frameworks and practices that acknowledge and validate a meaningful existence for all. People are not just isolated individuals but are connected in diverse ways with other persons within our natural and social environment which is part of the whole universe. The African philosophy of uBuntu or humaneness is re-emerging for its timely relevance and potential as indispensable (...) in our quest for global citizenship, peace, and mutual understanding in securing sustainable human development in the broader ecosystem. Comparative educationists have the challenge to devise theoretical frameworks, epistemological and pedagogical constructs as well as pragmatic, useful and effective ways of promoting the virtues of compassion and recognition of our common humanity in eliminating the ills of domination and control that are guided by greed, hatred, jealousy, and intolerance. Comparative Education for Global Citizenship, Peace and Shared Living through Ubuntu paves the way for a better understanding of the critical importance of the collective search and endeavor towards achieving the virtues of nonviolence, peace, shared values of living together, global citizenship, improved quality of life for all and a better appreciation of the positive implications of interdependence. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

The common cause principle states that correlations have prior common causes which screen off those correlations. I argue that the common cause principle is false in many circumstances, some of which are very general. I then suggest that more restricted versions of the common cause principle might hold, and I prove such a restricted version.

Meeting of the Minds records the proceedings of the S.I.E.P.M. conference held in Boston from June 14-16, 1996. The conference participants centred their attention on the relationships between medieval and classical modern philosophy. These relationships have been painted in dramatically different ways by those who have presented overviews of the two eras. Hans Blumenberg, in The Legitimacy of the Modern Age and his subsequent works, discovers the seeds of modernity in the medieval authors themselves. Leo Strauss and his followers see (...) a radical difference between the classical world views of the ancients and medievals and the successive layers of modern thought. These general portraits demand specifics, and the strength of the conference, whose results are contained in this volume, was that it provided many specific examinations of concrete relations between the philosophical positions of celebrated medieval and modern thinkers. Our hope is that this collection of papers will suggest the direction for further cooperative efforts on the interplay of the philosophical views represented by these two eras, and that the issues commonly debated by the medieval and early modern thinkers represented in this volume will give renewed consideration to important philosophical points that have been ignored in more recent debates. The volume contains contributions from E. Jennifer Ashworth (Waterloo, Ontario), Allan Back (Kutztown, Pennsylvania), Jos Decorte (Leuven), Thomas Dewender (Bochum), Idit Dobbs-Weinstein (Nashville), John P.Doyle (St.Louis), Jeremiah Hackett (Columbia, South Carolina), Simo Knuuttila (Helsinki), James McEvoy (Maynooth), A.Stephen McGrade (Storrs), Edward P.Mahoney (Durham, North Carolina), James D.Maliszewski (Toronto), Emily Michael (New York), Woosuk Park (Taejon, Korea), Horacio Santiago-Otero(+) (Madrid), Alison Simmons (Cambridge, Massachusetts), Jean-Luc Solere (Paris), Jose MariSoto Rabanos (Madrid), and Eileen C. Swe. (shrink)

In these Carus Lectures, Annette Baier looks at the relation between individual and shared reasoning, intending, and moral reflection. In each case she emphasizes the interdependence of minds and the role of social practices in setting the norms governing these activities.

Biobanks correspond to different situations: research and technological development, medical diagnosis or therapeutic activities. Their status is not clearly defined. We aimed to investigate human biobanking in Europe, particularly in relation to organisational, economic and ethical issues in various national contexts. Data from a survey in six EU countries were collected as part of a European Research Project examining human and non-human biobanking. A total of 147 institutions concerned with biobanking of human samples and data were investigated by questionnaires and (...) interviews. Most institutions surveyed belong to the public or private non-profit-making sectors, which have a key role in biobanking. This activity is increasing in all countries because few samples are discarded and genetic research is proliferating. Collections vary in size, many being small and only a few very large. Their purpose is often research, or research and healthcare, mostly in the context of disease studies. A specific budget is very rarely allocated to biobanking and costs are not often evaluated. Samples are usually provided free of charge and gifts and exchanges are the common rule. Good practice guidelines are generally followed and quality controls are performed but quality procedures are not always clearly explained. Associated data are usually computerised. Biobankers generally favour centralisation of data rather than of samples. Legal and ethical harmonisation within Europe is considered likely to facilitate international collaboration. We propose a series of recommendations and suggestions arising from the EUROGENBANK project. (shrink)

Hume’s moral philosophy makes sentiment essential to moral judgment. But there is more individual consistency and interpersonal agreement in moral judgment than in private emotional reactions. Hume accounts for this by saying that our moral judgments do not manifest our approval or disapproval of character traits and persons “only as they appear from [our] peculiar point of view... ” Rather, “we fix on some steady and general points of view; and always, in our thoughts, place ourselves in them, whatever may (...) be our present situation” (T 581-82), in order to “correct” our situated sentiments. This seems to create two serious difficulties for Hume’s theory. First, moral evaluations become inductive, empirical beliefs about what we would feel if we really occupied the imagined common point of view, and hence are the deliverances of causal reason; this contradicts Hume’s claim that the making of a moral evaluation is not an activity of reason but of sentiment. Secondly, given Hume’s thesis that the passions do not represent anything else, he cannot say that our moral evaluations will better represent the object being judged if they are made from the common point of view. This leaves no clear reason to adopt it, rather than making judgments from our real position. Hume says that left to our particular points of view, we will encounter contradictions and be unable to communicate, but it is hard to see why.My interpretation resolves these two difficulties. I argue that every time we reflect upon someone’s character from the common point of view, we feel an actual sentiment of approbation or disapprobation, which may alter and merge with the situated sentiment or may fail to do so, leaving two different feelings about the same character. Furthermore, whenever we make moral evaluations we also simultaneously make objective, causal judgments about the love and hatred, pride and humility that the trait will produce. We routinely take up the common point of view in order to achieve truth and consistency in our causal judgments, to avoid grave practical problems. (shrink)

What makes human beings intentional and thinking subjects? How does their intentionality and thought connect with their social nature and their communal experience? How do the answers to these questions shape the assumptions which it is legitimate to make in social explanation and political evaluation? These are the broad-ranging issues which Pettit addresses in this novel study. The Common Mind argues for an original way of marking off thinking subjects, in particular human beings, from other intentional systems, natural and (...) artificial. It holds by the holistic view that human thought requires communal resources while denying that this social connection compromises the autonomy of individuals. And, in developing the significance of this view of social subjects--this holistic individualism--it outlines a novel framework for social and political theory. Within this framework, social theory is allowed to follow any of a number of paths: space is found for intentional interpretation and decision-theoretic reconstruction, for structural explanation and rational choice derivation. But political theory is treated less ecumenically. The framework raises serious questions about contractarian and atomistic modes of thought and it points the way to a republican rethinking of liberal commitments. (shrink)

This book is in three sections, with two chapters in each. It begins with questions of psychology: questions to do with what it means to be an intentional agent and, in particular, what it means to be an agent with the capacity for thought. Having sketched an overall view of the intentional, thinking agent, it then goes on to explore the difference that social life makes to the mentality of such agents; in effect, it outlines a social ontology. And, having (...) developed a picture of the mind in society – of the common or social mind – it turns, finally, to the lessons of this picture for the pursuit of social and political theory: for the explanation of what happens on the social scene and for the evaluation of the different ways in which that scene may be structured. (shrink)

Many Faculties of Education in the UK and elsewhere have ‘social justice’ written into their mission statements. But are they concerned by questions of social justice in education, or has the term become somewhat vacuous and devoid of substantive meaning? The present article subjects recent discourses about social justice in education to scrutiny and finds them wanting in various respects, in particular when juxtaposed with historical accounts of justice by philosophers such as Aristotle or Aquinas. Among the complaints made here (...) is that most educational accounts (a) make do with a ‘negative’ conception of social justice as focused on specific cases of injustices without any positive conception of what social justice means in its entirety, (b) foreground institutional justice at the expense of justice as a moral or civic virtue, (c) fail to connect the identification of justice or injustice to an account of phronesis or practical wisdom for integrating values, (d) shy away from associating social justice with the ‘common good’ and (e) fail to get to grips with some thorny normative questions about the role of justice in the ordering of goods in a hierarchy towards the highest good. Along the way, various remedies are suggested. (shrink)

ABSTRACT:This article proposes a theory of the firm based on the common good. It clarifies the meaning of the term “common good” tracing its historical development. Next, an analogous sense applicable to the firm is derived from its original context in political theory. Put simply, the common good of the firm is the production of goods and services needed for flourishing, in which different members participate through work. This is linked to the political common good through (...) subsidiarity. Lastly, implications and challenges arising from the positing of work as the common good of the firm are explored. (shrink)

The paper is concerned with the conflicting principles revealed respectively by those who argue for the common school and by those who seek to promote a system of schools that, though maintained by the state, might reflect the different religious beliefs within the community. The philosopher, John Dewey, is appealed to in defence of the common school, though similar ideas are reflected in the developing comprehensive ideal in Britain.

This book moves beyond seeing the commons in the past tense, an entity passed over from the public into the private, to reimagine the commons as a process, a contest of force, a reconstitution, and a site of convening practices. It highlights new spaces of gathering opening up, such as the digital commons, and new practices of being in common, such as community economies and solidarity networks. The commons is seen as a contested domain of the collective and as (...) a changing way of being in common, with the balance poised in the tensile play between political economy and social innovation. The book focuses on the possibility of recovering a future in which more can be held by the many, focusing on three concepts: nation and nature as a commons, publics and rights, and bodies, concerning the management of lives and livelihoods. Across these three passage points, the book finds evidence of a commons under attack but also defended in fragile though promising ways. With contributions from leading scholars, this thought provoking book will be of great interest to students and scholars in geography, environmental studies, politics, anthropology, and cultural studies. (shrink)

The essential nature of science is revealed in an amplification of the relation between the arts and science.

The Common Good and Christian Ethics rethinks the ancient tradition of the common good in a way that addresses contemporary social divisions, both urban and global. David Hollenbach draws on social analysis, moral philosophy, and theological ethics to chart new directions in both urban life and global society. He argues that the division between the middle class and the poor in major cities and the challenges of globalisation require a new commitment to the common good and that (...) both believers and secular people must move towards new forms of solidarity if they are to live good lives together. Hollenbach proposes a positive vision of how a reconstructed understanding of the common good can lead to better lives for all today, both in cities and globally. This interdisciplinary study makes both practical and theoretical contributions to the developing shape of social, cultural, and religious life today. (shrink)