In this paper, I present the possibility of some other analytic political philosophy, in contrast to what is usually given this label. I do so by rejecting what I call the dualism between craftsmanship and vision.

Alasdair MacIntyre´s criticism of Modernity essentially refers to the problem of compartmentalization, which restricts the possibility of achieving excellence in an integral lifestyle. Among other reasons, compartmentalization is especially derived from an insular valorization of the workplace based on a reductionist understanding of productivity in terms of mere efficiency. Aimed at overcoming the moral confusion derived from the overestimation of technical, skilled productivity and individualistic cooperation in private corporations, this article offers a thicker explanation of MacIntyre’s theory of productive work (...) in light of a narrative approach that opens up the possibility of achieving standards of excellence in modern production. To do so, it follows MacIntyre’s understanding of productivity in terms of craftsmanship by explaining what excellence in production is and the role it plays in achieving unity of life and excellence in modern corporations based on two criteria derived from a historical definition of production, namely, craftsmanship and collegiality. (shrink)

In China, cultivation of the craftsmanship spirit is strongly advocated, but little attention is devoted to whether and how “working for the family” promotes heritage of this spirit. A configuration model of family motivation and organizational learning is proposed and expounded. Fuzzy set qualitative comparative analysis was used to further explore the conditional configuration. The results show that the fitting family motivation to organizational learning is important for promoting heritage of the craftsmanship spirit. There are two paths that (...) promote efficient heritage of this spirit: the institution-led path and the motivation-driven interpretation-led path. For the institution-led path, when apprentices have strong institution learning ability, the anterior-cause condition involves low family motivation, but this factor plays a weak role in promoting efficient heritage of the craftsmanship spirit. In a configuration consisting of intuition, interpretation, integration and institution, family motivation becomes irrelevant, which explains the phenomenon that organizational learning behavior reinforcement leads to a lack of family motivation. For the motivation-driven interpretation-led path, even without regular and institutionalized learning behaviors in the organization, the core conditions of high family motivation and high explanation learning, together with low intuition learning and low integration learning, will promote efficient heritage of the craftsmanship spirit. (shrink)

Prison work creates ethical challenges for which a training program was initiated for Dutch prison staff to foster their Moral Craftsmanship (MCS). The concept of MCS is not yet defined and operationalized in literature. This explorative study aims to 1) define MCS, 2) identify conceptual elements of MCS, and 3) develop a measurement tool for MCS. A document and literature study provided input for the definition and selection of conceptual elements related within DCIA policy documents, identifying three conceptual levels (...) of MCS: individual (cognition, attitude, and actions), team, and leadership. This first MCSQ consists of seventy-one items distributed across the domains: values and norms, judgment and reasoning, consultation, implementation, looking back, interactions, and leadership. We tested its usability via ‘think-aloud interviews.’ Validation of the current version of the MCS-Questionnaire and consensus among experts about what to include or exclude in the concept of MCS are needed for further development. (shrink)

Si oblitus fuero tui, Jerusalem, oblivioni detur dextera mea.” When Jerome commented on Ps. 136.5, he interpreted the passage allegorically. Sitting in exile by the waters of Babylon, the Israelites had hung their harps on the willows and, in a foreign land, would not sing the songs of Zion. Yet they refused to forget their origin, preferring, as King James's translators put it, that “my right hand forget her cunning.” Jerome observes that this is always the hand whose work remembers (...) the Lord. Yet clearly, by the early fifth century, the idea of manual dexterity had become a trope, a figure in some higher argument. Augustine compares the “lower gods”, reduced to performing menial tasks in the administration of the universe, to workers in the silversmiths' quarter through whose many hands a vessel passes before it is finished, even if it could have been perfected by any skilled member of their team. Slightly more pragmatically, Justinian's Digest mentions a piece of silver plate, brought on approval to a client's house by a uascularius but then inadvertently destroyed, as an instance actionable under the laws of contract. (shrink)

Taking up the body turn in sociology, this paper discusses scientific practices as embodied action from the perspective of Husserl’s phenomenological theory of the “Body”. Based on ethnographic data on a biology laboratory it will discuss the importance of the scientist’s Body for the performance of scientific activities. Successful researchers have to be skilled workers using their embodied knowledge for the process of tinkering towards the material transformation of their objects for data production. The researcher’s body then is an instrument (...) of measuring as well as a kind of archive of knowing. Their body becomes a disciplined instrument which has its own place and function inside the laboratory. Furthermore, the appresentational apperception of Bodies (Husserl) is being discussed as a basis for the emotional and ethical concerns towards laboratory-animals. Attitudes towards animals in the laboratory setting (as well as elsewhere) are highly emotional. Nevertheless, following the literature of the sociology of the body, those emotional reactions still follow certain cultural patterns which themselves can be understood as embodied ways of knowing “right” or “wrong”. Besides as an instrument, the scientist’s body can also be understood as a resource of emotional attachment towards animals. It is an instrument for performing transformation as well as one for caring. (shrink)

Western philosophy has been greatly influenced by visual metaphors. Knowing something has commonly, yet implicitly, been conceptualized as seeing something clearly, learning has been framed as being visually exposed to something, and the mind has been understood as a ‘mirror of nature’. A whole ‘epistemology of the eye’ has been at work, which has had significant practical implications, not least in educational contexts. One way to characterize John Dewey’s pragmatism is to see it as an attempt to replace the epistemology (...) of the eye with an epistemology of the hand. This article develops the epistemology of the hand on three levels: A level of embodiment and metaphors, of craftsmanship and social practices, and of schooling and education. (shrink)

In a historical perspective, what is novel about computer games is that they are not pure games but cultural objects which allow the playful desires identified by Caillois to be fused with craftsmanship, the desire to do a job well for its own sake (Sennett). Play is often defined in opposition to work, for example by Huizinga and Caillois, but craftsmanship has two qualities which can be found in both. Firstly, craftsmanship entails creative attention to the material (...) at hand pleasurably and patiently built up through rehearsal (cf. Sennett on “material consciousness”)—“creative” is used in a sense read from Bergson which is almost synonymous with “possibility-widening”. Secondly, craftsmanship entails the satisfaction of seeing the end result of one's labours. Both qualities are essential to human well-being (Marx, Sennett, Smith). (shrink)

The role and ethics of professionals in business and economics have been questioned, especially after the financial crisis of 2008. Some suggest a reorientation using concepts such as craftsmanship. In this article, I will explore professional practices within the context of behavioural theory and business ethics. I suggest that scholars of behavioural theory need a strategy to deal with normative questions to meet their ambition of practical relevance. Evidence-based management, a recent behavioural approach, may assist business ethics scholars in (...) understanding how professionals infer ‘evidence’ to make decisions. For a professional, ethical issues are an integral part of decision-making at critical moments. As reflective practitioners, they develop insights related to ethical concerns when collecting and assessing evidence within decision-making processes. (shrink)

In the mid-nineteenth century, the house sparrow ( Passer domesticus) was introduced to the United States, quickly spreading across the country. For a brief period in the late nineteenth and early twentieth centuries, the observation of sparrow behavior was something of an urban pastime. Traits such as intelligence, reason, persistence, and craftsmanship were conferred onto sparrows by American urbanites. This paper argues that sparrow intelligence was often conflated with domestication: the ability of the birds to adapt to living alongside (...) humans. Praise for the ingenuity of sparrows generally revolved around their nest building, particularly when such structures overcame the challenges posed by urban infrastructure and technology. Sparrows were far less praiseworthy when they caused electricity outages or contaminated water supplies. The sparrow in the United States demonstrates how the relationship between these anecdotes and their implications for animal minds was mediated by the technology and infrastructure of cities. Admirers of sparrows were not measuring the birds’ mental capacity, but rather their ability to adapt to human habitations. Sparrows were only granted intelligence once they had demonstrated their ability to become domesticated. (shrink)

Although fair trade has grown exponentially in the U.S. in recent years, we do not have a clear understanding of why small U.S. firms choose to participate in it. To answer this question, we use a qualitative case study approach and grounded theory analysis to explore the motivations of 35 small fair trade businesses. We find that shared values and the desire to help others, often triggered by a critical incident, lead social entrepreneurs to found and sustain fair trade businesses. (...) The relationship between shared values and engagement in fair trade and the relationship between altruism and engagement in fair trade are strengthened by four motivating factors: direct relationships with producers, support for social causes, the desire for the preservation of craftsmanship, and the desire to share aesthetic products. These links are strengthened by four facilitating factors : the acquisition of business knowledge, family member involvement in the firm, assistance from faith communities, and assistance from the fair trade community. Additional analysis reveals three types of fair trade social entrepreneurs: “ethics first” entrepreneurs, primarily motivated by human rights and social justice concerns; “faith first” fair traders, motivated primarily by their religious faith; and “business first” businesspeople, motivated by what they perceive to be an opportunity to build a successful business while simultaneously doing “good” and helping others. (shrink)

Richard Cartwright is one of the most clearheaded, astute, and penetrating philosophers in this country. Because of his own strict standards, however, his work has been published only sparingly and is not as well known as he himself is. Philosophical Essays is a welcome first collection. It includes fifteen essays spanning three decades of Cartwright's thought and focusing on central problems in the philosophy of logic, the philosophy of language, and metaphysics. The introduction offers an excellent guide to Cartwright's mode (...) of thought and pedagogical style. Some of these essays are now regarded as classics; six others are published here for the first time. Each of them, from "Macbeth's Dagger" to "Negative Existentials" and "Propositions of Pure Logic" is a model of craftsmanship and clarity of thought. They span a variety of topics, including identity, truths, essence, implication, and philosophical method. Richard Cartwright is Professor of Philosophy and Head of the Department of Linguistics and Philosophy at MIT. (shrink)

The aim of this paper is to contribute to the discussion of expertise and skilled movement in sport by analysing the bodily practice of learning a new movement at a high level of skill in parkour. Based on Sennett’s theory of craftsmanship and an ethnographic field study with experienced practitioners, the analysis offers insight into the skilful, contextual and unique practice of parkour, and contributes to the renewed discussion of consciousness in sport at a high level of skill. With (...) Sennett’s concept of craftsmanship, it is possible to describe and grasp important aspects of obstacles put up, repetitions and material consciousness in developing perceptual and physical skills in parkour. The parkour craftsmen conduct a constant dialogue between concrete, material practices and thinking. It is argued in the article that Sennett’s ideas about craftsmanship are, in many ways, similar to Dreyfus and Dreyfus’ concept of mastery, but are less elitist and exclusive than the theory of skill acquisition... (shrink)

The role and ethics of professionals in business and economics have been questioned, especially after the financial crisis of 2008. Some suggest a reorientation using concepts such as craftsmanship. In this article, I will explore professional practices within the context of behavioural theory and business ethics. I suggest that scholars of behavioural theory need a strategy to deal with normative questions to meet their ambition of practical relevance. Evidence-based management (EBMgt), a recent behavioural approach, may assist business ethics scholars (...) in understanding how professionals infer ‘evidence’ to make decisions. For a professional, ethical issues are an integral part of decision-making at critical moments. As reflective practitioners, they develop insights related to ethical concerns when collecting and assessing evidence within decision-making processes. (shrink)

The paper begins by exploring whether a “tendency to avarice” exists in most capitalist business organisations. It concludes that it does and that this is problematic. The problem centres on the potential threat to the integrity of human character and the disablement of community.What, then, can be done about it? Building on previous work (Moore, 2002) in which MacIntyre’s notions of practice and institution were explored (MacIntyre, 1985), the paper offers a philosophically based argument in favour of the rediscovery of (...) craftsmanship by those who work in business organisations, and the exercise of craftsmanship in community.The practical implications for individuals of this way of conceptualising business, and the virtues which must then come to the fore, are discussed. (shrink)

The paper begins by exploring whether a “tendency to avarice” exists in most capitalist business organisations. It concludes that it does and that this is problematic. The problem centres on the potential threat to the integrity of human character and the disablement of community.What, then, can be done about it? Building on previous work (Moore, 2002) in which MacIntyre’s notions of practice and institution were explored (MacIntyre, 1985), the paper offers a philosophically based argument in favour of the rediscovery of (...) craftsmanship by those who work in business organisations, and the exercise of craftsmanship in community.The practical implications for individuals of this way of conceptualising business, and the virtues which must then come to the fore, are discussed. (shrink)

The essay reflects on Gadamer’s ambiguous legacy for the philosophy of work. On the one hand, there are times when Gadamer reproduces the problematic distinction between language and labor which short-circuits the very idea of a hermeneutics of work. This is particularly evident in Gadamer’s reflections on technique and craftsmanship in the central sections of Truth and Method, as well as in his descriptions of the “art” of dialogue and the tasks of hermeneutics that separate them emphatically them from (...) the sphere of “making.” I raise some questions about the adequacy of the distinction Gadamer draws between techne and phronesis that structures this account. I argue here that Gadamer’s characterization of the learning process involved in the mastery of a technique, as well as his conception of the instrumentality and monologicality of technical knowledge, is difficult to sustain, especially in view of recent research in the psychology and anthropology of work. I then go on to point out that elsewhere in his oeuvre Gadamer himself is critical of the conception of work that emerges through the lens of the techne / phronesis distinction. Indeed, on these occasions he hints at a conception of work that points beyond the Arendt / Habermas conception towards a critical hermeneutics of working life. This alternative approach to work is particularly apparent in Gadamer’s appropriation of Hegel’s dialectic, in his understanding of play, and in some of his later diagnostic reflections on the spirit of the age. In section four, I offer some suggestions for explaining how the tensions evident in Gadamer’s approach to work came about. Here I am interested in what prevented Gadamer from embracing whole-heartedly the project of a hermeneutics of work that he himself helped to lay the foundations for. I conclude with some brief remarks on why we should seek to build upon these foundations and renew the project of a critical hermeneutics of work today. (shrink)

This article takes the fiftieth anniversary of the death of American sociologist C. Wright Mills as a cue to revisit his legacy but also the value of sociology today. It argues that the enduring relevance of Mills’ work is his cultivation of a sociological sensibility, which is both an attentive and sensuous craft and also a moral and political project. The article returns to some of the key aspects of Mills’ life and work, and focuses, in particular, on his influential (...) book The Sociological Imagination. Revisiting the opening and closing chapters of this book – entitled ‘The Promise’ and ‘On Intellectual Craftsmanship’ – this article argues that the contemporary social imagination needs to offer its students the capacity to open out to the world through a heightened sensory attentiveness, which in turn makes possible a different kind of social imaginary. In this way Mills’ gift to the future is a sociological sensibility furnished by its tradition, but one also that is constantly re-tuned to the circumstances and problems of the present. (shrink)

In this dissertation, I argue that early nineteenth-century American poets’ and readers’ interpretations of Romanticism shaped their understanding of the role poetry and its producers could play in a developing national culture. By examining the public careers and private sentiments of four male poets — William Cullen Bryant, Henry Wadsworth Longfellow, Edgar Allan Poe, and Jones Very — I analyze how each reconciled poetic vocation with the moral and economic obligations associated with the attainment of manhood. I locate these poets (...) and their critics within specific historical discourses of aesthetic reception and production, focusing on the tensions and overlaps between Scottish Common-sense and Romantic aesthetic thought. Finally, I suggest that as a career objective the production of poetry paralleled rather than opposed the middle-class project of the “self-made man.” The effortful self-mastery urged upon young men by prescriptive writers was echoed in critics’ assessments of American poets’ works. Both the male poet and the self-made man operated within discourses which stressed imperatives — do, be, act — without specific objects. Yet, for aspiring poets, Romantic emphases on spontaneous composition and emotional expressiveness made deliberate craftsmanship irrelevant to poetic production. By identifying poetic production as spontaneous and as the highest form of disinterested intellectual labor, antebellum American critics and poets alike obscured the actual work involved in poetry writing. This erasure of conscious literary labor separated effort from its products, replacing a poet’s personal motives for writing poetry with the more nebulous goal of service, to be achieved through evidently inspired transcription than through purposeful composition. The title ‘poet’ suggested devotion to higher, more abstract goals, above mere commodity production. Each of these poets’ careers show how ambition compelled aspiring American poets to justify their work while disclaiming their individual hopes for their poetry and their reputations. Each poet promoted an understanding of poetic labor that demanded just such disclaimers. By underscoring the insubstantial and all but effortless nature of poetic composition itself, all four of these poets contributed to an enfeebled definition of the male poet — as a man who received impressions rather than produced them, and who observed rather than acted. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reciprocating Engine--Like ProustRoger ShattuckWould you buy a book called “How to Read a Book”? Only out of annoyance, I imagine. In the company of literary scholars, critics, and writers, we all think we know already how to read. Otherwise, we’d be professional charlatans. Still, in 1940 tens of thousands of people bought a book called How to Read a Book by Mortimer J. Adler. It stayed on the (...) best seller lists for several weeks. Adler wrote in an easy conversational style and promoted good books—even old ones. But he had the essentials wrong. He believed we should read the way a tyro tours an art museum: the tyro looks at the label before looking at the painting. Of course our whole educational system—K plus 12 plus 4 plus even more—inevitably follows this label-first method. I shall come back to the basic question of order of events in reading literature.On the basis of my own experience and of my investigations in recent years, I distinguish three kinds or levels of reading. We read for basic comprehension of words and sentences. We read for literary response to the parts and the whole of a work. And we read for the relations of the work to other works and to life itself. These tentative categories of reading do not represent sequential stages. Our response to language may resort to one or all of these three activities at any stage of learning.Formal reading begins with the basic association of written word with sounded word—with a notion in the mind—with some phenomenon in the world. Since most of us have forgotten how we learned those initial associations, we understand them probably from having helped a child to read. And in that gradual process we do not usually encounter the excitement that can occur when an illiterate older child or an illiterate [End Page 104] adult suddenly grasps the miracle of language. The exemplary case of Helen Keller concentrates into one incident at the water pump the revelation that comes to the rest of us over a period of weeks or months at a much earlier age. We should never forget one fundamental: the comprehension stage of reading is not an empty skill that can be acquired apart from meaningful content. In order to make sense of written language, we cannot just learn a mental trick of association but must also acquire much information about the world we live in.This first category of reading for comprehension is endlessly debated by all parties, including literary scholars and critics. Almost no one speaks of the third category: how to keep track of and make use of what we read over the years, both as professionals in the field of literature and as individuals seeking to shape a life out of our experience. I lifted the title of this panel from a remarkable essay on how to keep notes on one’s reading and how to set up and constantly revise a system of files both in order to give direction to one’s professional career and in order to constitute one’s character as a person. The essay “On Intellectual Craftsmanship” was written by C. Wright Mills as an appendix for The Sociological Imagination (1959). We all pick up procedures for keeping notes and files as we go along. But despite the number of methodology courses in graduate programs in literature, such basics are rarely discussed. Mills deserves much credit for raising a neglected subject essential for all writers. Intellectual craftsmanship will become even more challenging in the era of electronics and computers.Another great scholar a century earlier saw fit to speak of these basics near the end of his autobiography.I may mention that I keep from thirty to forty large portfolios, in cabinets with labelled shelves, into which I can at once put a detached reference or memorandum. I have bought many books and at their ends I make an index of all the facts that concern my work; or, if the book is not my own, write out a separate abstract, and of such abstracts I have a huge drawer... (shrink)

This book provides a selective and somewhat cheeky account of prominent positions in legal theory, such as American legal realism, modern legal positivism, sociological systems theory, institutionalism and critical legal studies. It presents a relational approach to law and a new perspective on legal sources. The book explores topics of legal theory in a playful manner. It is written and composed in a way that refutes the widespread prejudice that legal theory is a dreary subject, with a cast of characters (...) that occasionally interact in order to illustrate the claims of the book. Legal experts claim to know what the law is. Legal theory-or jurisprudence-explores whether such claims are warranted. The discipline first emerged at the turn of the 20th century, when the self-confidence of both legal scholarship and judicial craftsmanship became severely shattered, but the crisis continues to this day. (shrink)

This study explores the impact of participation in a series of moral case deliberations (MCD) on the moral craftsmanship (MCS) of Dutch prison staff. Between 2017–2020, ten MCDs per team were implemented in three prisons (i.e., intervention group). In three other prisons (i.e., control group) no MCDs were implemented. We compared the intervention and control group using a self-developed questionnaire, administered before (pre-measurement) and after the series of MCDs (post-measurement). Results After the MCDs, participants scored significantly higher on 7 (...) of the 70 items related to MCS. On some items there were significant impact differences between the various professional disciplines. Discussion Possible explanations for a relatively low impact are discussed. A shorter and validated questionnaire is needed in order to further study the MCS of professionals and the impact of Ethics Support Services (ESS). Conclusions There was a positive development on some elements of MCS after participation in a series of MCDs. (shrink)

This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts.It offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life.

This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts.It offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life.

Peer review is a widely accepted instrument for raising the quality of science. Peer review limits the enormous unstructured influx of information and the sheer amount of dubious data, which in its absence would plunge science into chaos. In particular, peer review offers the benefit of eliminating papers that suffer from poor craftsmanship or methodological shortcomings, especially in the experimental sciences. However, we believe that peer review is not always appropriate for the evaluation of controversial hypothetical science. We argue (...) that the process of peer review can be prone to bias towards ideas that affirm the prior convictions of reviewers and against innovation and radical new ideas. Innovative hypotheses are thus highly vulnerable to being “filtered out” or made to accord with conventional wisdom by the peer review process. Consequently, having introduced peer review, the Elsevier journal Medical Hypotheses may be unable to continue its tradition as a radical journal allowing discussion of improbable or unconventional ideas. Hence we conclude by asking the publisher to consider re-introducing the system of editorial review to Medical Hypotheses. (shrink)

In part 1 of the paper, I develop a Platonic business ethic, emphasizing Plato’s Republic. I approach business ethics from a virtue ethics position, and I attempt to show that a Platonic craftsmanship model infuses a corporation with a type of managerial wisdom and justice, molds temperate and courageous corporate characters, and entails a morally fine type of self-interest. I also show that it is basic to two influential management theories.In part 2, I use Amartya Sen’s Development as Freedom (...) to show that the craftsmanship model is central to the concept of development. This concept is important in ethical discussions of both globalization and transnational corporations. Thus, I attempt to globalize Platonic business ethics using a craftsmanship model.In my concluding remarks, I attempt to show that the Plato/Sen position on development can be illustrated by both American and non-American capitalist firms functioning in our globalized world. (shrink)

In his opening speech, Timaeus argues that the cosmos must be the product of a craftsman looking to an eternal paradigm. Yet his premises seem at best to justify only that the world could have been made by such a craftsman. This paper seeks to clarify Timaeus’ justification for his stronger conclusion. It is argued that Timaeus sees a necessary role for craftsmanship as a cause that makes becoming like being.

In lieu of an abstract, here is a brief excerpt of the content:Martin Heidegger and OntologyEmmanuel Levinas (bio)The prestige of Martin Heidegger 1 and the influence of his thought on German philosophy marks both a new phase and one of the high points of the phenomenological movement. Caught unawares, the traditional establishment is obliged to clarify its position on this new teaching which casts a spell over youth and which, overstepping the bounds of permissibility, is already in vogue. For once, (...) Fame has picked one who deserves it and, for that matter, one who is still living. Anyone who has studied philosophy cannot, when confronted by Heidegger’s work, fail to recognize how the originality and force of his achievements, stemming from genius, are combined with an attentive, painstaking, and close working-out of the argument—with that craftsmanship of the patient artisan in which phenomenologists take such pride. In this study, it is important for us to understand, above all, the true intentions of our author, to illuminate what he thinks really needs to be said, and to surmise what is most critical for him.To get to the heart of Heidegger’s system, it seems fitting to begin with a problem that is generally familiar. We choose the problem of knowledge, a deeper understanding of which takes us to the very threshold of Heidegger’s thought. For this problem, central to modern philosophy, is one of the main obstacles of modern philosophy that Heidegger wishes to surmount. Neo-Kantianism, which takes knowledge as the philosophical problem of the first rank, is the movement against which Heidegger rebels with all his strength. We have, thus, every chance of gaining access to his thought by the main door, so to speak. Once inside the system we will try to trace its outlines, 2 reserving, for a second part of our work, the determination of Heidegger’s place in the history of ideas, especially in the phenomenological movement, as well as of his relations with the philosopher to whom he owes so much—Edmund Husserl. 31In its most general form, the problem of the theory of knowledge has a critical significance. It consists in delineating a domain where knowledge can be certain and in determining the criteria for the legitimate scope of knowledge. But this problem, as normal and as simple as it may appear, has deeper roots. That knowledge should need a criterion at all presupposes that truth is not identical to all that is known and that the course [End Page 11] of things can fail to correspond with the course of thought. “How does knowledge correspond to being?” is a more profound formulation of the problem of knowledge.But we are not going to touch anymore on the primordial phenomenon that generates the problem. The problem of correspondence between thing and thought presupposes a free activity of thought and its isolation in relation to the object. It is precisely this presupposition which renders their harmony and even their contact problematic. “How does the subject take leave of itself to attain the object?” is what the problem of knowledge, in the last analysis, boils down to. Its true source is thus the concept of “subject” as elaborated by modern philosophy. The cogito presided over the subject’s birth. The cogito was the affirmation of the privileged nature of the subject’s immanent sphere, of its unique place in existence; hence, the cogito was the specificity of the subject’s connection to the rest of reality, the sui generis nature which opens up the passage from immanence to transcendence, the passage from ideas contained in the thinking substance to 4 their “formal existence.”The concept of the subject, understood as a substance having a specific position in the entire domain of being, presents us with difficulties of two kinds. First, how do we understand this leave-taking from the self which the thinking substance brings about and which displays an entirely original aspect? Indeed, we could say that thought, in reaching out toward objects, does not actually take leave of itself, since its objects—considered as ideas and contents of thought—are, in a certain sense, already within it. In order to make sense of this paradox, Descartes... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.4 (2000) 577-593 [Access article in PDF] Machina Ex Deo: William Harvey and the Meaning of Instrument Don Bates Introduction Since our clocks do consistently disclose each hour of the day and night--do they not seem to partake of another body (beyond the elements), and that more divine? But if, under the dominion and management of [our human] Art, such splendid things are (...) daily achieved beyond the powers of the objects themselves,... And if, in serving men they carry out such things as are to be marvelled at, what I ask, may we expect from them when they be instruments in the hand of God? These words come near the end of William Harvey's De generatione animalium. 1 As he does often in this work, he is arguing that it is possible for a material object to behave supra vires elementorum, i.e., in a manner that exceeds what can be explained merely from the qualities of the elements from which it is made. In fact, just before this, he argues that human craftsmanship enables the elements of air and water to make ships sail in opposite directions, fire to do one sort of thing in the kitchen, another in the shops of metal-workers, including the production of iron, which in its turn peacefully tills the soil or besieges the town in war. So if even human Art is capable of making something as wonderful as a clock out of the elements, how much more might God be able to do with them? [End Page 577]Not only is it entirely conceivable that the (divinely) artful manipulation of these same elements can account for the wonders of God's nature--such as the generation of a chick out of an egg--there is also no need to infer the existence of additional entities such as faculties, qualities, agents, and the like. All that is needed is the concept of "instrument." Today such things as his appeal to a clock, his reference to "art," and the word "instrument" itself, are liable to arouse in our minds a fairly mechanical sort of image. Therefore, we need to put this idea in its intellectual context, by looking at where Harvey's notion of instrument is coming from.First, our much more mechanical world view was just coming into being as Harvey (1578-1657) wrote these words. Although the philosophy of his younger contemporary, René Descartes (1596-1650) was not yet in full bloom (he died a year before Harvey's book appeared), Cartesianism was certainly on the explanatory horizon, 2 as was the work of another contemporary and contributor to the "new philosophy," Pierre Gassendi (1592-1655). 3 And, of course, Harvey had certainly known Francis Bacon (1561-1626). 4 Nevertheless, Harvey was a devout Aristotelian who was adamantly opposed to the efforts of these contemporaries to replace Aristotle. 5 Moreover, it was from the Aristotelian tradition, not from the new mechanics, that Harvey had derived the concept of instrument.If, broadly speaking, the "new philosophy" was about a universe that was built like a clock, then the "old" natural philosophies, whether dominated by Platonism, Aristotelianism, Christian theology, or some combination, were about a universe that was socially constructed. 6 Not only was man at the center, to a large extent the workings of the universe were envisioned in terms of social experience. The regularity, predictability, harmony, and wonder of natural phenomena seemed best explained in the language of reason, moral values, motives, responsibilities, hierarchies, laws (in the social sense), and the like, explanatory resources that, in the late ancient and medieval intellectual cultures of Europe, far outweighed either those that appealed to the passively material and the mechanical, or to the random and the chance.But very central to that social model of nature was the concept of instrument, which gave to it something of a mechanical twist. To see how this was so, we need to go back temporarily to the works of Aristotle, the influence of... (shrink)

In this paper, we would like to illustrate how the conception of a third genre, “artidesign”, can represent: 1) The relationship between the cultural and conceptual contribution of craftsmanship and the consequent aesthetic and phenomenological implications of the size of the workforce in the three thematic areas of art, craftsmanship and design. 2) It should be a real system that is becoming concrete through the logic of design, production and consumption.

C. Wright Mills was that rarity among American thinkers — a political intellectual — who drew primarily on Western liberal traditions, American traditions of moral pragmatism and craftsmanship, the social classics and methods of sociology, to fashion a unique critical voice. Writing at the end of the liberal era, he brilliantly captured the outlines of a post-modern society he referred to as the “fourth epoch.” In this work, he anticipated and helped shape much of what was good in the (...) American new left, raising questions which remain largely unanswered twenty-four years after his untimely death at age forty-five. Mills argued that the elaboration of reason and culture was necessary to oppose the new “behemoth” of social rationalization. (shrink)

How were various strata of local history—Classical, Christian, and Muslim—incorporated into the building of imperial Seville (sixteenth and seventeenth centuries), and what was the impact of the critical approach to evidence developed in Renaissance Italy on actual urban projects? Three case-studies—of a noble palace, the Casa de Pilatos; of a public park, the Alameda de Hércules; and of a carpentry treatise by master builder Diego López de Arenas—reveal the malleable role of historical evidence in monumental construction projects based on classical (...) and Christian ideals and demonstrate a more methodical use of evidence among artisans practicing traditional medieval craftsmanship. (shrink)

Wonder can be found in human creativity as well as in nature. While one version of belief in inspiration precludes human creativity, another presupposes it. Margaret Boden, however, suggests that creativity is continuous with generic human powers, and arises through breaking recognised rules. Problems are raised for this latter view. It needs to be added that creativity commonly involves participation in a tradition of skill or craftsmanship, and in a creative community. Further, the continuity approach is argued to be (...) consistent with a version of the inspiration approach, according to which the Creator can communicate through minds reflective of his/her creative imagination, as suggested by Austin Farrer. (shrink)

At a time when Americans are increasingly concerned with finding jobs and economic stability, supporting families, and surviving in the global economy, many consider the arts to be a luxury, a frivolous distraction which entices students away from real learning. In Strong Arts, Strong Schools, Charles Fowler argues that, far from a luxury, the arts are a vitally important part of our society and our schools. Speaking directly to educators, policy makers, and parents alike, Fowler presents a compelling defense of (...) the arts and their importance in our lives. The arts illuminate "life in all its mystery, misery, delight, pity and wonder." Without them, students are deprived of learning what it means to be truly human. The arts teach students how rather than what to think. Highlighting the crucial effect of the arts on learning, he contends that the arts teach skills that other basic subjects cannot--critical thinking and problem solving, judgment and independence, attention to detail and craftsmanship, and an openness to other cultures and ways of thinking. Arguing on behalf of the arts, Fowler shows how the arts can enliven and extend the entire school curriculum by integrating different subjects in innovative interdisciplinary ways, sparking the interest of at-risk or special needs students. "The best schools have the best arts programs," writes Fowler. "Excellence in education and excellence in the arts go hand in hand." In eighteen compelling essays, Fowler demonstrates the importance of the arts in our culture and the necessity of rescuing the arts for our future. Beginning with an overview of the context in which the arts operate, he offers an honest and sometimes distressing overview of the state of education and arts education today. He then examines the arts and economics, presenting a carefully researched exposition of the significance of the arts and their relationship to science and industry. Showing how the arts provide a more comprehensive education, he shows why the arts engage students and make learning relevant and fun. Tackling the controversial question of curriculum, Fowler addresses such questions as who should study the arts, which arts, and whose culture should be taught. Citing a shameful neglect of creativity in our culture, he highlights the negligence of the schools in teaching students to be creative and inventive thinkers, and he shows the capacity of the arts to communicate these essential skills. Fowler concludes the book with suggestions for reform and with practical strategies for winning the support of school boards and school administrators. Finally asking "how do we get there," he offers specific recommendations for changing our schools, providing equal opportunity for all, and--perhaps most critically in today's economic climate--paying the bill. In this elegantly written, passionately argued book, Fowler presents a convincing case for teaching the arts to all children. "A downtrodden army of cultureless children," Fowler warns, "is marching toward a barren and depleted adulthood and taking the future of our civilization with them." Strong Arts, Strong Schools is a clarion call to action for any teacher, parent, policy maker, or citizen concerned about the fate of the arts in American society and about the state of our schools. (shrink)

At a time when Americans are increasingly concerned with finding jobs and economic stability, supporting families, and surviving in the global economy, many consider the arts to be a luxury, a frivolous distraction which entices students away from real learning. In Strong Arts, Strong Schools, Charles Fowler argues that, far from a luxury, the arts are a vitally important part of our society and our schools. Speaking directly to educators, policy makers, and parents alike, Fowler presents a compelling defense of (...) the arts and their importance in our lives. The arts illuminate "life in all its mystery, misery, delight, pity and wonder." Without them, students are deprived of learning what it means to be truly human. The arts teach students how rather than what to think. Highlighting the crucial effect of the arts on learning, he contends that the arts teach skills that other basic subjects cannot--critical thinking and problem solving, judgment and independence, attention to detail and craftsmanship, and an openness to other cultures and ways of thinking. Arguing on behalf of the arts, Fowler shows how the arts can enliven and extend the entire school curriculum by integrating different subjects in innovative interdisciplinary ways, sparking the interest of at-risk or special needs students. "The best schools have the best arts programs," writes Fowler. "Excellence in education and excellence in the arts go hand in hand." In eighteen compelling essays, Fowler demonstrates the importance of the arts in our culture and the necessity of rescuing the arts for our future. Beginning with an overview of the context in which the arts operate, he offers an honest and sometimes distressing overview of the state of education and arts education today. He then examines the arts and economics, presenting a carefully researched exposition of the significance of the arts and their relationship to science and industry. Showing how the arts provide a more comprehensive education, he shows why the arts engage students and make learning relevant and fun. Tackling the controversial question of curriculum, Fowler addresses such questions as who should study the arts, which arts, and whose culture should be taught. Citing a shameful neglect of creativity in our culture, he highlights the negligence of the schools in teaching students to be creative and inventive thinkers, and he shows the capacity of the arts to communicate these essential skills. Fowler concludes the book with suggestions for reform and with practical strategies for winning the support of school boards and school administrators. Finally asking "how do we get there," he offers specific recommendations for changing our schools, providing equal opportunity for all, and--perhaps most critically in today's economic climate--paying the bill. In this elegantly written, passionately argued book, Fowler presents a convincing case for teaching the arts to all children. "A downtrodden army of cultureless children," Fowler warns, "is marching toward a barren and depleted adulthood and taking the future of our civilization with them." Strong Arts, Strong Schools is a clarion call to action for any teacher, parent, policy maker, or citizen concerned about the fate of the arts in American society and about the state of our schools. (shrink)

In the interview in this article, Randall Collins discusses various aspects of his oeuvre. First, he considers why interaction rituals (IRs) in religion are special emotional transformers. This is followed by a discussion of IRs in the digital age and the symbolic and economic power that is required to orchestrate IRs in politics and revolutions. Then comes a discussion of social scientific research into violence, in the past and more recently. The interview continues with a reflection on the notion of (...) attention space, a concept which Collins has applied in analyses of violent interactions and the intellectual struggles between philosophers. Finally, the article considers the state of the art of sociology and its future prospects, evaluating its potential for rapid discovery and its position on the abstraction-reflexivity continuum. As the interview demonstrates Collins’s insightful sociological craftsmanship, it provides social scientists with a strong and optimistic lead in how to do social theory. (shrink)

'A good essay must draw its curtain round us, but it must be a curtain that shuts us in, not out.' According to Virginia Woolf, the goal of the essay 'is simply that it should give pleasure...It should lay us under a spell with its first word, and we should only wake, refreshed, with its last.' One of the best practitioners of the art she analysed so rewardingly, Woolf displayed her essay-writing skills across a wide range of subjects, with all (...) the craftsmanship, substance, and rich allure of her novels. This selection brings together thirty of her best essays, including the famous 'Mr Bennett and Mrs Brown', a clarion call for modern fiction. She discusses the arts of writing and of reading, and the particular role and reputation of women writers. She writes movingly about her father and the art of biography, and of the London scene in the early decades of the twentieth century. Overall, these pieces are as indispensable to an understanding of this great writer as they are enchanting in their own right. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Beginning from a preliminary explanation in Part 1 (Logeion, v.1, n.2) about the transitional zone between system and world of life, this paper discusses the enrichment of the production of informational knowledge, focusing on the crucial role of normative professionalization and organizational cultures in Humanistic Information Studies. The concept of normative professionalization, initially constructed from Habermas analysis of ‘system’ and ‘world of life’, and Foucault’s analysis of ‘truth’ and power in the social sciences, was enriched by the dialog with Freidson (...) about "good works", Ricoeur's ethical perspective, the ethics of craftsmanship developed by Sennett, and Schön's analysis of professional reflexivity. Today it is possible to view the initially referred to transitional zone as a dynamic place where contemporary organizational theory and normative professionalization may open perspectives to wider moral values. Great conceptual efforts are needed. But the greatest challenge lies in the normative aspects which require new forms of cooperation based on radical equality between academic researchers and professionals working in organizations to connect the different forms of knowledge on the basis of equality, and characteristics established on the practice-based character of normative professionalization. ESTUDOS HUMANÍSTICOS DA INFORMAÇAO: UMA PROPOSTA.PARTE 2: A PROFISSIONALIZAÇÃO NORMATIVA ResumoPartindo do entendimento de uma zona de transição entre sistema e mundo da vida, apresentado na Parte 1 (Logeion, v.1, n.2), este texto discute o enriquecimento da produção de conhecimento informacional, enfocando o papel crucial da profissionalização normativa e das culturas organizacionais nos Estudos Humanísticos da Informação. O conceito de profissionalização normativa, inicialmente construído a partir da análise de 'sistema' e 'mundo da vida' de Habermas e da análise de Foucault sobre a relação entre verdade e poder nas ciências sociais, foi enriquecido pelo diálogo com Freidson sobre o "bom trabalho", a perspectiva ética de Ricoeur, a ética do artesanato desenvolvida por Sennett, e a análise da reflexividade profissional de Schön. Hoje podemos ver referida zona de transição inicial como um lugar dinâmico, onde a teoria organizacional contemporânea e a profissionalização normativa podem abrir a perspectiva de valores morais mais amplos. São ainda necessários grandes esforços conceituais. O maior desafio reside no lado normativo, que pede novas formas de cooperação com base na igualdade radical entre pesquisadores acadêmicos e profissionais que trabalham em organizações, para conectar as diferentes formas de conhecimento sobre uma base da igualdade e nas características, situadas e baseadas na prática, da profissionalização normativa. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Literary Common GroundLee Rust BrownLet me make note of a few things that have occurred to me during this conference. Some of these will be observations; some will be practical inferences. One of them, though, involves the crossing of an expectation, or maybe a fear, I had brought with me to Minneapolis. Since this has to do with the whole tone of the conference, we might as well (...) begin with it.It, of course, was the question of the polemical nature of this gathering. Would this conference be diagnostic and denunciatory in nature, or would it seek to start something truly new? Certainly we all feel the need of something new—not new, either, in the sense that movements or ideological positions claim to be new, but in the sense of a fresh gathering of common attention in the place where literature is, the place where each of us who loves literature already goes alone. This would be a possibility for something original rather than just another novelty—which makes the question of polemics all the more urgent. An association that founded itself in complaint would be only one more identity-group making a virtue out of its grudge. And the grudge, in that case, would have been a sad reflex of feeling superseded and powerless.But where have the polemics against current orthodoxies been? I am delighted not to have heard them in any strenuous capacity. Even their relative absence hasn’t commanded any extended attention, and that may be an even more telling point. I take this to be partly the result of foresight and good sense. But the clean air here has been more than a reward for our mutual constraint. Instead, it seems evidence of the fact [End Page 193] that, when literature occupies our attention, there is no need for self-defense. Justice, or justification, happens by itself when we “do our own work,” as Socrates recommended.What is our own work, then? This association has made a point, it seems, of declining to prescribe what it should be. The only thing we are absolutely sure of is that its subject is literature, and that its standards and rewards should be of a literary nature. From there the field opens up—and this conference has succeeded in keeping it open in some very concrete ways.Let’s think briefly about the two panels we attended yesterday. The morning panel on “Intellectual Craftsmanship” seemed unified in its concern with the disciplined ways by which we commit ourselves to literary experience. Literature itself, as well as what we do with it, teaches us this discipline, which is “aesthetic” in every sense of that word. Roger Shattuck set the tone when he described the discipline of reading as an issue of preparation and assimilation on the one hand, and as a kind of complete perceptual openness on the other. Such openness, in our normal experience, allows us to be surprised, to see actual things, perhaps, instead of their institutional categories. But literature also requires that we craft our receptivity. The surprises we prepare ourselves to undergo are achieved breakthroughs, which makes them no less unpredictable but all the more deeply affecting.Criticism cultivates such surprising experience. (I think experience is the crucial word, by the way, since everyone on that first panel seemed to be devoted to a kind of free empiricism.) The spectacular moments of visionary power that Robert Alter isolated in Dickens are places that startle and disturb us—and we track our own surprise, and intensify it, when we look closely at how those dark places of power emerge from Dickens’s refiguring of a world where darkness otherwise tends toward an entirely unredeemable opacity. We have to read “synesthetically,” as Shattuck says, “with both eyes open,” to let ourselves be for a moment blinded by such literary places.Once again, the discipline of reading—devotedly and resistantly—frees us for the achieved experience. Slowing down, in Sven Birkerts’s sense of “retardation and deceleration,” is precisely a matter of stepping into a field of experience shaped (or, in an auditory sense, fostered and conserved) by the special demands of literature. It... (shrink)

In this paper, we discuss Babylonian observations of a “massing of the planets” reported in two Astronomical Diaries, BM 32562 and BM 46051. This extremely rare astronomical phenomenon was observed in Babylon between 20 and 30 March 185 BC shortly before sunrise when all five planets were simultaneously visible for about 10 to 15 min close to the horizon in the eastern morning sky. These two observational texts are not only interesting as records of an extremely rare planetary configuration, but (...) also because the observers appear to be confused by the presence of all planets simultaneously and mix them up in their reports, and the two reports of the same observations are so different that we are forced to conclude that they were carried out by two different observers. There is an additional astronomical event which makes this planetary configuration even more unique: the exact conjunction of the planets Mars and Jupiter in the afternoon of 25 March 185 BC. An exact conjunction, where two planets are so close together that they appear as one object in the sky, is also extremely rare. Although this exact conjunction between Mars and Jupiter occurred during the day so that it was not observable, it was correctly predicted by the Babylonian scholars: a remarkable achievement and a nice illustration of their astronomical craftsmanship. Finally, our study clearly exposes one of the limitations of Babylonian naked-eye astronomy. When first appearances of the planets Mercury, Mars and Saturn are expected around the same date, it is nearly impossible to correctly identify them because their expected positions are only approximately known while they have about the same visual magnitude so that they become visible at about the same altitude above the horizon. (shrink)