This book discusses the notion that quantum gravity may represent the "breakdown" of spacetime at extremely high energy scales. If spacetime does not exist at the fundamental level, then it has to be considered "emergent", in other words an effective structure, valid at low energy scales. The author develops a conception of emergence appropriate to effective theories in physics, and shows how it applies (or could apply) in various approaches to quantum gravity, including condensed matter approaches, discrete approaches, and loop (...) quantum gravity. (shrink)

Relationships between current theories, and relationships between current theories and the sought theory of quantum gravity (QG), play an essential role in motivating the need for QG, aiding the search for QG, and defining what would count as QG. Correspondence is the broad class of inter-theory relationships intended to demonstrate the necessary compatibility of two theories whose domains of validity overlap, in the overlap regions. The variety of roles that correspondence plays in the search for QG are illustrated, using examples (...) from specific QG approaches. Reduction is argued to be a special case of correspondence, and to form part of the definition of QG. Finally, the appropriate account of emergence in the context of QG is presented, and compared to conceptions of emergence in the broader philosophy literature. It is argued that, while emergence is likely to hold between QG and general relativity, emergence is not part of the definition of QG, and nor can it serve usefully in the development and justification of the new theory. (shrink)

In seeking an answer to the question of what it means for a theory to be fundamental, it is enlightening to ask why the current best theories of physics are not generally believed to be fundamental. This reveals a set of conditions that a theory of physics must satisfy in order to be considered fundamental. Physics aspires to describe ever deeper levels of reality, which may be without end. Ultimately, at any stage we may not be able to tell whether (...) we've reached rock bottom, or even if there is a base level – nevertheless, I draft a checklist to help us identify when to stop digging, in the case where we may have reached a candidate for a final theory. Given that the list is – according to (current) mainstream belief in high-energy physics – complete, and each criterion well-motivated, I argue that a physical theory that satisfies all the criteria can be assumed to be fundamental in the absence of evidence to the contrary (i.e., I argue that the necessary conditions are jointly sufficient for a claim of fundamentality in physics). (shrink)

In times of crisis, when current theories are revealed as inadequate to task, and new physics is thought to be required—physics turns to re-evaluate its principles, and to seek new ones. This paper explores the various types, and roles of principles that feature in the problem of quantum gravity as a current crisis in physics. I illustrate the diversity of the principles being appealed to, and show that principles serve in a variety of roles in all stages of the crisis, (...) including in motivating the need for a new theory, and defining what this theory should be like. In particular, I consider: the generalised correspondence principle, UV-completion, background independence, and the holographic principle. I also explore how the current crisis fits with Friedman’s view on the roles of principles in revolutionary theory-change, finding that while many key aspects of this view are not represented in quantum gravity, the view could potentially offer a useful diagnostic, and prescriptive strategy. This paper is intended to be relatively non-technical, and to bring some of the philosophical issues from the search for quantum gravity to a more general philosophical audience interested in the roles of principles in scientific theory-change. (shrink)

Principles are central to physical reasoning, particularly in the search for a theory of quantum gravity (QG), where novel empirical data is lacking. One principle widely adopted in the search for QG is UV completion: the idea that a theory should (formally) hold up to all possible high energies. We argue---/contra/ standard scientific practice---that UV-completion is poorly-motivated as a guiding principle in theory-construction, and cannot be used as a criterion of theory-justification in the search for QG. For this, we explore (...) the reasons for expecting, or desiring, a UV-complete theory, as well as analyse how UV completion is used, and how it should be used, in various specific approaches to QG. (shrink)

A distinction has often been drawn between processes and accomplishments; between, say, *walking* and *walking to the shops*. But it has proved difficult to explain the nature of this distinction in a satisfying way. This paper offers an explanation of the nature of this distinction that is suggested by the idea that there is an ontologically significant correspondence between temporal and spatial notions. A number of writers, such as Alexander Mourelatos (1978) and Barry Taylor (1985), have argued that the spatial (...) notions of space-occupying stuff and space-occupying particular have temporal analogues. This paper builds on these discussions in offering the fuller development of a temporal ontology at the core of which are the notions of time-occupying stuff and of a time-occupying particular. It is then argued that when this analogy is properly understood it is possible to advance a distinctive explanation of the nature of the distinction between processes and accomplishments. The paper then goes on to develop some suggestions about how a temporal ontology involving the notions of temporal mass and of a temporal particular can help to provide explanations of a range of further puzzling temporal notions. In the final section of the paper, this temporal ontology is defended in the face of some possible sources of criticism. (shrink)

Analogue experiments have attracted interest for their potential to shed light on inaccessible domains. For instance, ‘dumb holes’ in fluids and Bose–Einstein condensates, as analogues of black holes, have been promoted as means of confirming the existence of Hawking radiation in real black holes. We compare analogue experiments with other cases of experiment and simulation in physics. We argue—contra recent claims in the philosophical literature—that analogue experiments are not capable of confirming the existence of particular phenomena in inaccessible target systems. (...) As they must assume the physical adequacy of the modelling framework used to describe the inaccessible target system, arguments to the conclusion that analogue experiments can yield confirmation for phenomena in those target systems, such as Hawking radiation in black holes, beg the question. (shrink)

Principles are central to physical reasoning, particularly in the search for a theory of quantum gravity, where novel empirical data are lacking. One principle widely adopted in the search for QG is ultraviolet completion: the idea that a theory should hold up to all possible high energies. We argue— contra standard scientific practice—that UV-completion is poorly motivated as a guiding principle in theory-construction, and cannot be used as a criterion of theory-justification in the search for QG. For this, we explore (...) the reasons for expecting, or desiring, a UV-complete theory, as well as analyse how UV-completion is used, and how it should be used, in various specific approaches to QG. 1Introduction 1.1Principles in theory development and evaluation 2Primer on UV-Completion, Renormalizability, and All That 2.1Renormalizability and UV-completion 2.2Other forms of UV-completion 3Why Should QG Be UV-Complete? 3.1UV-completion and fundamentality 3.2UV-completion and minimal length 4UV-Completion in Different Approaches to QG 4.1String theory 4.2Asymptotic safety 4.3Causal dynamical triangulation 4.4Higher derivative approaches 4.5Supergravity 4.6Causal set theory 4.7Canonical QG 4.8Loop quantum gravity 4.9Approaches based on alternative gravitational theories 4.10Emergent gravity approaches 5UV-Completion as a Guiding Principle in QG 6Conclusion. (shrink)

The numerous and diverse roles of theory reduction in science have been insufficiently explored in the philosophy literature on reduction. Part of the reason for this has been a lack of attention paid to reduction2 (successional reduction)—although I here argue that this sense of reduction is closer to reduction1 (explanatory reduction) than is commonly recognised, and I use an account of reduction that is neutral between the two. This paper draws attention to the utility—and incredible versatility—of theory reduction. A non-exhaustive (...) list of various applications of reduction in science is presented, some of which are drawn from a particular case-study, being the current search for a new theory of fundamental physics. This case-study is especially interesting because it employs both senses of reduction at once, and because of the huge weight being put on reduction by the different research groups involved; additionally, it presents some unique uses for reduction—revealing, I argue, the fact that reduction can be of specialised and unexpected service in particular scientific cases. The paper makes two other general findings: that the functions of reduction that are typically assumed to characterise the different forms of the relation may instead be understood as secondary consequences of some other roles; and that most of the roles that reduction plays in science can actually also be fulfilled by a weaker relation than (the typical understanding of) reduction. (shrink)

This is the first book dedicated to Husserl's aesthetics. Paul Crowther pieces together Husserl's ideas of phantasy and image and presents them as a unified and innovative account of aesthetic consciousness. He also shows how Husserl's ideas can be developed to solve problems in aesthetics, especially those related to visual art, literature, theatre, and nature. After outlining the major components of Husserl's phenomenological method, Crowther addresses the scope and structure of Husserl's notion of aesthetic consciousness. For Husserl, aesthetic consciousness in (...) all its forms involves phantasy-where items or states of affairs are represented as if actually perceived or experienced, even though they are not, in fact, given in the present perceptual field. Husserl also makes some extraordinarily interesting links between aesthetic consciousness and nature, showing how natural things and environments become instigators of such consciousness when apprehended in the appropriate terms. This "unreality" of the object of aesthetic consciousness anticipates contemporary debates about pictorial representation and is also relevant to Husserl's accounts of literature and theatre. The Phenomenology of Aesthetic Consciousness and Phantasy will appeal to scholars and advanced students interested in aesthetics, philosophy of art, phenomenological aesthetics, and Husserl's philosophy. (shrink)

Though it enjoys widespread support, the claim that perceptual experiences possess nonconceptual content has been vigorously disputed in the recent literature by those who argue that the content of perceptual experience must be conceptual content. Nonconceptualism and conceptualism are often assumed to be well-defined theoretical approaches that each constitute unitary claims about the contents of experience. In this paper I try to show that this implicit assumption is mistaken, and what consequences this has for the debate about perceptual experience. I (...) distinguish between two different ways that nonconceptualist (and conceptualist) proposals about perceptual content can be understood: as claims about the constituents that compose perceptual contents or as claims about whether a subject. (shrink)

This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius.

Typically, a less fundamental theory, or structure, emerging from a more fundamental one is an example of synchronic emergence. A model emerging from a prior model upon which it nevertheless depends is an example of diachronic emergence. The case of spacetime emergent from quantum gravity and quantum cosmology challenges these two conceptions of emergence. Here, I propose two more-general conceptions of emergence, analogous to the synchronic and diachronic ones, but which are potentially applicable to the case of emergent spacetime: an (...) inter-level, hierarchical conception, and an intra-level, ‘flat’ conception. I then explore whether, and how, these ideas may be applicable in the case of several putative examples of relativistic spacetime emergent from the non-spatiotemporal structures described by different approaches to quantum gravity, and of spacetime emergent from a non-spatiotemporal ‘big bang’ state according to different examples of quantum cosmology. (shrink)

An effective theory in physics is one that is supposed to apply only at a given length scale; the framework of effective field theory describes a ‘tower’ of theories each applying at different length scales, where each ‘level’ up is a shorter-scale theory. Owing to subtlety regarding the use and necessity of EFTs, a conception of emergence defined in terms of reduction is irrelevant. I present a case for decoupling emergence and reduction in the philosophy of physics. This paper develops (...) a positive conception of emergence, based on the novelty and autonomy of the ‘levels’, by considering physical examples, involving critical phenomena, the renormalisation group, and symmetry breaking. This positive conception of emergence is related to underdetermination and universality, but, I argue, is preferable to other accounts of emergence in physics that rely on universality. (shrink)

There has been relatively little discussion, in contemporary philosophy of mind, of the active aspects of perceptual processes. This essay presents and offers some preliminary development of a view about what it is for an agent to watch a particular material object throughout a period of time. On this view, watching is a kind of perceptual activity distinguished by a distinctive epistemic role. The essay presents a puzzle about watching an object that arises through elementary reflection on the consequences of (...) two apparent truths about watching an object throughout a period of time. It proposes that the puzzle can be resolved by a view according to which for an agent to watch an object throughout a period of time is for that agent to maintain visual awareness of that object with the aim of perceptually knowing what that object is doing. The essay goes on to make some further suggestions about how the apparatus developed in connection with the notion of watching may enable us to offer related explanations of other kinds of perceptual activity. It proposes that a useful distinction can be drawn between perceptual activities like watching which have as their aim knowledge of what an object is doing and activities like looking or visually scrutinizing which have as their aims knowledge of the states or conditions of the objects of perceptual awareness. (shrink)

The numerous and diverse roles of theory reduction in science have been insufficiently explored in the philosophy literature on reduction. Part of the reason for this has been a lack of attention paid to reduction2 (successional reduction)---although I here argue that this sense of reduction is closer to reduction1 (explanatory reduction) than is commonly recognised, and I use an account of reduction that is neutral between the two. This paper draws attention to the utility---and incredible versatility---of theory reduction. A non-exhaustive (...) list of various applications of reduction in science is presented, some of which are drawn from a particular case-study, being the current search for a new theory of fundamental physics. This case-study is especially interesting because it employs both senses of reduction at once, and because of the huge weight being put on reduction by the different research groups involved; additionally, it presents some unique uses for reduction---revealing, I argue, the fact that reduction can be of specialised and unexpected service in particular scientific cases. The paper makes two other general findings: that the functions of reduction that are typically assumed to characterise the different forms of the relation may instead be understood as secondary consequences of some other roles; and that most of the roles that reduction plays in science can actually also be fulfilled by a weaker relation than (the typical understanding of) reduction. (shrink)

Within physics there are two ways of establishing the relative fundamentality of one theory compared to another, via two senses of reduction: "inter-level" and "intra-level" (Crowther, 2018). The former is standardly recognised as roughly correlating with the chain of ontological dependence (i.e., the phenomena described by theories of macro-physics are typically supposed to be ontologically dependent on the entities/behaviour described by theories of micro-physics), and thus has been of interest to naturalised metaphysics. The latter, though, has not been considered interesting (...) for metaphysics, because it is not thought to correlate either with ontological dependence, nor causal or dynamical dependence. I argue, however, that this is a mistake, and that actually, the intra-level relation does reflect ontological dependence (in the same sense as the inter-level relation) and thus should not be neglected by metaphysics of physics. This argument further supports the assertion that the same notion of fundamentality underlies both the inter- and intra-level claims of fundamentality in physics, and that this notion of relative fundamentality in physics correlates with that of metaphysics. (shrink)

Reflection on cases involving the occurrence of various types of perceptual activity suggests that the phenomenal character of perceptual experience can be partly determined by agential factors. I discuss the significance of these kinds of case for the dispute about phenomenal character that is at the core of recent philosophy of perception. I then go on to sketch an account of how active and passive elements of phenomenal character are related to one another in activities like watching and looking at (...) things. (shrink)

Singularities in general relativity and quantum field theory are often taken not only to motivate the search for a more-fundamental theory (quantum gravity, QG), but also to characterise this new theory and shape expectations of what it is to achieve. Here, we first evaluate how particular types of singularities may suggest an incompleteness of current theories. We then classify four different 'attitudes' towards singularities in the search for QG, and show, through examples in the physics literature, that these lead to (...) different scenarios for the new theory. Two of the attitudes prompt singularity resolution, but only one suggests the need for a theory of QG. Rather than evaluate the different attitudes, we close with some suggestions of factors that influence the choice between them. (shrink)

Though it enjoys widespread support, the claim that perceptual experiences possess nonconceptual content has been vigorously disputed in the recent literature by those who argue that the content of perceptual experience must be conceptual content. Nonconceptualism and conceptualism are often assumed to be well-defined theoretical approaches that each constitute unitary claims about the contents of experience. In this paper I try to show that this implicit assumption is mistaken, and what consequences this has for the debate about perceptual experience. I (...) distinguish between two different ways that nonconceptualist proposals about perceptual content can be understood: as claims about the constituents that compose perceptual contents or as claims about whether a subject’s undergoing experiences with those contents requires them to possess the concepts that characterize those contents. I maintain that these ways of understanding conceptualism and nonconceptualism are orthogonal to one another. This is revealed by the conceptual coherence of positions in which the contents of experiences have both conceptual and nonconceptual features; positions which possess their own distinctive sources of philosophical motivation. I argue that the fact that there is a place in conceptual space for such positions, and that there may be good reason for theorists to adopt them, creates difficulties for both the central argument for nonconceptualism and the central argument for conceptualism. I set out each of these arguments; the Argument from Possession-Independence and the Epistemically-Driven Argument. I then try to show how the existence of mixed positions about perceptual content derived from a clear distinction between compositional and possessional considerations constitutes a significant obstacle for those arguments as they stand. The takehome message of the paper is that unless one clearly acknowledges the distinction between issues about the composition of perceptual content and issues about how subject’s capacities to undergo certain experiences relates to their possession of concepts one runs the risk of embracing unsatisfying philosophical arguments in which conclusions relevant to one conception of nonconceptual and conceptual content are grounded on arguments that concern only the other; arguments that cannot, in themselves, sustain them. (shrink)

Watching, looking at, and listening to, are all things that perceiving agents actively do. Though the occurrence of these activities appears to entail perception of elements of the agent's environment, perception is not something that can be actively done by agents. This raises the question how perceptual activity and perception are related to one another. This chapter, through reflecting on a discussion of listening offered by Brian O'Shaughnessy, argues that listening to material particulars ought to be understood as the agential (...) maintenance of aural awareness of those particulars, with the aim of knowing what sounds they are making. He goes on to explore some of the consequences of these claims about listening for exercises of perceptual agency involving the other sensory modalities. (shrink)

The first sustained phenomenological approach to modern art, taking a new approach and drawing upon an unsual selection of thinkers.

Introduction for the Synthese Special Issue on Spacetime Functionalism.

In this introduction, we describe the rationale behind this special issue on Principles of Quantum Gravity. We explain what we mean by ‘principles’ and relate this to the various contributions. Finally, we draw out some general themes that can be found running throughout these contributions.

Quantum gravity is understood as a theory that, in some sense, unifies general relativity (GR) and quantum theory, and is supposed to replace GR at extremely small distances (high-energies). It may be that quantum gravity represents the breakdown of spacetime geometry described by GR. The relationship between quantum gravity and spacetime has been deemed ``emergence'', and the aim of this thesis is to investigate and explicate this relation. After finding traditional philosophical accounts of emergence to be inappropriate, I develop a (...) new conception of emergence by considering physical case studies including condensed matter physics, hydrodynamics, critical phenomena and quantum field theory understood as effective field theory. This new conception of emergence is unconcerned with the ideas of reduction and derivation (i.e. it holds that we may have emergence with reduction or without it). Instead, a low-energy theory (or model) is understood as emergent from a high-energy theory if it is novel and autonomous compared to the high-energy theory, and the low-energy physics is dependent in a particular, minimal sense on the high-energy physics (this dependence is revealed by the techniques of effective field theory and the renormalisation group). While novelty is construed in a broad sense, the autonomy comes essentially from the underdetermination of the high-energy theory by the low-energy theory, which reflects the minimal way in which the emergent, low-energy theory depends on the high-energy one. It results from the scaling behaviour of the theories and the limiting relations between them, and is demonstrated by the renormalisation group and effective field theory techniques, the idea of universality, and the phenomenon of symmetry-breaking. These ideas are important in exploring the relationship between quantum gravity and GR, where GR is understood as an effective, low-energy theory of quantum gravity. Without experimental data or a theory of quantum gravity, we rely on principles and techniques from other areas of physics to guide the way. As well as considering the idea of emergence appropriate to treating GR as an effective field theory, I investigate the emergence of spacetime (and other aspects of GR) in several concrete approaches to quantum gravity, including examples of the condensed matter approaches, the ``discrete approaches'' (causal set theory, causal dynamical triangulations, quantum causal histories and quantum graphity) and loop quantum gravity. (shrink)

Despite the wonders of the digital world, people still go in record numbers to view drawings and paintings in galleries. Why? What is the magic that pictures work on us? This book provides a provocative explanation, arguing that some pictures have special kinds of beauty and sublimity that offer aesthetic transcendence. They take us imaginatively beyond our finite limits and even invoke a sense of the divine. Such aesthetic transcendence forges a relationship with the ultimate and completes us psychologically. Philosophers (...) and theologians sometimes account for this as an effect of art, but How Pictures Complete Us distinguishes itself by revealing how this experience is embodied in pictorial structures and styles. Through detailed discussions of artworks from the Renaissance through postmodern times, Paul Crowther reappraises the entire scope of beauty and the sublime in the context of both representational and abstract art, offering unexpected insights into familiar phenomena such as ideal beauty, pictorial perspective, and what pictures are in the first place. (shrink)

Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing the (...) moment : artistic projections of time -- Conclusion : the status and future of art. (shrink)

Most research in philosophy of perception has focussed on the perceptual experience of three-dimensional, solid, bounded and coherent material objects – items like ink-stands and tomatoes. But as well as having perceptual experience of such objects, we also experience such ‘perceptual ephemera’ as, for instance, rainbows, surfaces, and stuff; things that are ephemeral in the sense that they can be contrasted, in selected respects, with material objects. This book collects together fourteen new essays on the perceptual experience of ‘ephemera’. A (...) substantive introduction by the editors provides a detailed introduction to the topic as a whole, setting out the thematic background to this emerging area of research in contemporary philosophy of perception. The volume winds a path through the ephemeral that touches on sensibilia, shadows and absences, as well as on ephemeral topics that are less familiar: media, transparency, camouflage, solidity and ambient vision. (shrink)

ABSTRACT Throughout the early modern period, the most widely read astronomical textbooks were Johannes de Sacrobosco's De sphaera and the Theorica planetarum, ultimately in the new form introduced by Georg Peurbach. This essay argues that the images in these texts were intended to develop an “intelligent eye.” Students were trained to transform representations of specific heavenly phenomena into moving mental images of the structure of the cosmos. Only by learning the techniques of mental visualization and manipulation could the student “see” (...) in the mind's eye the structure and motions of the cosmos. While anyone could look up at the heavens, only those who had acquired the intelligent eye could comprehend the divinely created order of the universe. Further, the essay demonstrates that the visual program of the Sphaera and Theorica texts played a significant and hitherto unrecognized role in later scientific work. Copernicus, Galileo, and Kepler all utilized the same types of images in their own texts to explicate their ideas about the cosmos. (shrink)

ABSTRACT Throughout the early modern period, the most widely read astronomical textbooks were Johannes de Sacrobosco's De sphaera and the Theorica planetarum, ultimately in the new form introduced by Georg Peurbach. This essay argues that the images in these texts were intended to develop an “intelligent eye.” Students were trained to transform representations of specific heavenly phenomena into moving mental images of the structure of the cosmos. Only by learning the techniques of mental visualization and manipulation could the student “see” (...) in the mind's eye the structure and motions of the cosmos. While anyone could look up at the heavens, only those who had acquired the intelligent eye could comprehend the divinely created order of the universe. Further, the essay demonstrates that the visual program of the Sphaera and Theorica texts played a significant and hitherto unrecognized role in later scientific work. Copernicus, Galileo, and Kepler all utilized the same types of images in their own texts to explicate their ideas about the cosmos. (shrink)

In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing the (...) logical boundaries and ontological structures of the aesthetic domain. He then considers key concepts from this analysis in the light of a tradition in Continental philosophy (notably the work of Kant, Heidegger, Merleau-Ponty, and Hegel) which--by virtue of the philosophical significance that it assigns to art--significantly anticipates the ecological conception. On this basis, Crowther is able to give a full formulation of his ecological definition. Art, in making sensible or imaginative material into symbolic form, harmonizes and conserves what is unique and what is general in human experience. The aesthetic domain answers basic needs intrinsic to self-consciousness itself, and art is the highest realization of such needs. In the creation and reception of art the embodied subject is fully at home with his or her environment. (shrink)

There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers. If these intrinsic meanings are explained and further developed, then (...) the philosophy of art practice is significantly enhanced. The present work, accordingly, is a phenomenology of how the gestural and digital creation of visual imagery generates self-transformation through aesthetic space. (shrink)

Why are the visual arts so important and what is it that makes their forms significant? Countering recent interpretations of meaning that understand visual artworks on the model of literary texts, Crowther formulates a theory of the visual arts based on what their creation achieves both cognitively and aesthetically. He develops a phenomenology that emphasizes how visual art gives unique aesthetic expression to factors that are basic to perception. At the same time, he shows how various artistic media embody these (...) factors in distinctive ways. Attentive to both the creation and reception of all major visual art forms, _Phenomenology of the Visual Arts_ also addresses complex idioms, including abstract, conceptual, and digital art. (shrink)

There are different groups in society who may be considered vulnerable, for example those experiencing mental or physical health issues, learning disabilities, prisoners or children. There are, however, other groups in society who may also be regarded as vulnerable, such as those who are bereaved. Vulnerability in relation to the bereaved occurs as a result of experiencing a normal life event, death or a loss. In this situation vulnerability may be transient and, depending upon the management of the bereavement, generally (...) temporary. Unlike the aforementioned groups, participants required for this type of research (bereavement, death and dying) are able to consent themselves into projects, and the capacity to do so is not an issue. Undertaking research with those who may be considered vulnerable into sensitive, emotive topics such as death and dying can create difficulties for the National Research Ethics Service (NRES), making it difficult to get approval for such studies. It appears that the ethical issues are concerned with not wishing to cause distress to participants when asked for research purposes to recollect what for some may have been emotionally challenging and traumatic events. The article offers a narrative, reflective account of the above from several perspectives: being employed as a contract researcher in a university; having experience of being an active member of a National Health Service Research Ethics Committee; and later assuming the role of full-time postgraduate (PhD) student requiring ethical approval to undertake research with what may be considered a vulnerable group involving a sensitive and emotive topic. Valuable insights from participants – their views on participation in an emotive research project and good practice in research having been explored via questionnaire – are highlighted and discussed. (shrink)

Paul Crowther argues that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. He proposes an ecological definition of art: by making sensible or imaginative material into symbolic form, it harmonizes and conserves what is unique and what is general about human experience.

In recent times considerable controversy has raged around the question of postmodern culture and its products. Paul Crowther attempts to overcome some of the antagonistic viewpoints involved by expounding and developing key themes from the work of Kant and Merleau-Ponty in the context of contemporary culture. His work analyzes topics such as the relation between art and politics, the problems of poststructuralist and feminist approaches to art, the re-emergence and relevance of theories of the sublime, and the continuing possibilities of (...) artistic creativity. The central theme of the book is that there are constants in human experience around which art and philosophy turn. At the same time, however, due account must be given of the ways such constants are historically mediated. By articulating various aspects of this relation, Crowther shows that the postmodern sensibility can be more than that of an alienated consumerism. Understood in the proper theoretical context, it is grounded on experience and artifacts which humanize. (shrink)

Evidence-based medicine has been rapidly and widely adopted because it claims to provide a method for determining the safety and efficacy of medical therapies and public health interventions more generally. However, as others have noted, EBM may be riven through with cultural bias, both in the generation of evidence and in its translation. We suggest that technological and scientific advances in medicine accentuate and entrench these cultural biases, to the extent that they may invalidate the evidence we have about disease (...) and its treatment. This creates a significant ethical, epistemological and ontological challenge for medicine. (shrink)

ABSTRACTThe aim of the paper is to demonstrate the fruitfulness of the influential verb typology developed by Zeno Vendler for recent debates in the philosophy of perception. Section one explains t...

Originally published in 1913. Author: Henri Lichtenberger Language: English Keywords: History Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Obscure Press are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.Keywords: English Keywords 1900s Language English Artwork.

This paper criticizes contemporary relativist scepticism concerning the universal validity of the concepts ‘art’ and the ‘aesthetic’. As an alternative, it offers a normative definition of art based on intrinsic aesthetic meaning contextualized by innovation and refinement in the diachronic history of art media. In section I, anti-foundationalist relativism, and softer versions (found in the Institutional definitions of art) are expounded in relation to art and the aesthetic. In section II, it is argued that antifoundationalism is conceptually flawed and tacitly (...) racist, and is, in effect, a cultural expression of global consumerism. Section III analyses the scope of the aesthetic in non-western contexts, and then offers a critique of the Institutional definitions as also being conceptually flawed, tacitly racist, and consumerist in orientation. In section IV the positive basis of a normative definition of art is outlined in detail and defended at length against possible relativist objections. It is finally argued that the normative approach taken in this paper shows how cultural conservatism can be a left-wing project. (shrink)

(1982). Sex‐ and Age‐Related Differences in the Musical Behaviour, Interests and Attitudes Towards Music of 232 Secondary School Students. Educational Studies: Vol. 8, No. 2, pp. 131-139.