Here the philosopher and physicist David Z Albert argues, among other things, that the difference between past and future can be understood as a mechanical phenomenon of nature and that quantum mechanics makes it impossible to present the entirety of what can be said about the world as a narrative of “befores” and “afters.”.

Split preorders are preordering relations on a domain whose composition is defined in a particular way by splitting the domain into two disjoint subsets. These relations and the associated composition arise in categorial proof theory in connection with coherence theorems. Here split preorders are represented isomorphically in the category whose arrows are binary relations and whose composition is defined in the usual way. This representation is related to a classical result of representation theory due to Richard Brauer.

It is proved that equations between arrows assumed for cartesian categories are maximal in the sense that extending them with any new equation in the language of free cartesian categories collapses a cartesian category into a preorder. An analogous result holds for categories with binary products, which may lack a terminal object. The proof is based on a coherence result for cartesian categories, which is related to model-theoretic methods of normalization. This maximality of cartesian categories, which is analogous to Post (...) completeness, shows that the usual equivalence between deductions in conjunctive logic induced by βη normalization in natural deduction is chosen optimally. (shrink)

The interaction between philosophy and political parties is one of the most lively questions in the discipline of the history of philosophy and in the battle of ideas today. It affects both specialists in philosophy and representatives of other professions, particularly in the broad realm of creative intellectuals. It excites people of different generations living under different social systems and belonging to different and often opposed classes.

Our Book Review Editor, James Keller, invited William Hasker to write a review of the Book by D. Z. Phillips, "The Problem of Evil and the Problem of God" and then in consultation with the Editor-in-Chief invited Phillips to respond. Aware of both their respect for each other and their philosophical differences we planned that Hasker's review and Phillips' response would appear in the same issue of the "International Journal for Philosophy of Religion." Unfortunately that was not to be. Dewi, (...) as he was known to his many friends throughout the world, collapsed at his desk on 25 July, 2006 in the library of his beloved University of Wales, Swansea. Although we were not able to have the review and response appear in the same issue as we had all planned, we are now printing his response to Hasker's review, "D. Z. Phillips's Problems with Evil and with God," which appeared in IJPR, Vol. 61,3. Dewi had completed the review and thanks to the efforts of Helen Baldwin who prepared the manuscript and Dewi's wife, Monica, and family we are able to print it here. Since Dewi was responding to an earlier version of Hasker's review, a few minor editorial changes have been made. Dewi's death is a great loss to the philosophical community and a deep personal loss to his family and friends, but I am confident that he would be pleassed to have this response appear. He might even have a story to tell, a comment that those who knew him well will fully understand. Eugene Thomas Long. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

Arab countries; intellectual life; congresses.

Rush Rhees was a philosopher, and a pupil and close friend of Ludwig Wittgenstein. While some of Rhees's own published papers became classics, most of his work remained unpublished during his lifetime. After his death, his papers were found to comprise sixteen thousand pages of manuscript on every aspect of philosophy, from philosophical logic to Simone Weil. This collection of unpublished papers, edited by D. Z. Phillips, includes Rhees's outstanding work on philosophy and religion. Written over an academic lifetime, some (...) of the papers are sympathetic to religion while others are not. It is Rhees's ability to interweave the personal and philosophical, and his integrity and intellectual honesty, which make this one of the most impressive books in twentieth-century philosophy of religion. (shrink)

On the dominant contemporary accounts of how practical considerations affect what we ought to believe, practical considerations either encroach on epistemic rationality by affecting whether a belief is epistemically justified, or constitute distinctively practical reasons for belief which can only affect what we ought to believe by conflicting with epistemic rationality. This paper argues that Søren Kierkegaard offers a promising alternative view on which practical considerations can affect what we ought to believe without either encroaching on or (necessarily) conflicting with (...) epistemic rationality by determining which among the epistemically permitted outright doxastic attitudes one should all‐things‐considered adopt. (shrink)

This descriptive study was conducted to determine nursing students’ observation of ethical problems encountered in their clinical practice. Data were collected through a questionnaire from 153 volunteer nursing students at a university-based nursing school in Ankara, Turkey. The students reported that some patients are either physically or psychologically mistreated by doctors and nurses; they were not given appropriate information; they were subjected to discrimination according to their socio-economic situation; and their privacy was ignored. The findings reveal that nurses’ own unethical (...) behaviors contribute to a rise in ethical problems. It is argued that nurses should internalize their professional and ethical roles in order to provide safe and ethical care and be good role models for students. (shrink)

Žižek as comedian: jokes in the service of philosophy.

On Islamic teachings, written by an army officer and educationist from Pakistan.