Scrap yard challenge : junkyard wars -- Freedom, origination, and irony -- Mimesis and cruelty -- Improvisation, origination, re-novation -- Conclusion : improvisation, thinking, writing.

Michael A. Petersa and Fazal Rizvib aBeijing Normal University, Beijing, PR China; bMelbourne University, Melbourne, Australia Our minds are still racing back and forth, longing for a return to ‘no...

Prior research suggests that voluntary environmental governance mechanisms operate to enhance a firm’s environmental legitimacy as opposed to being a driver of proactive environmental performance activities. To understand how these mechanisms contribute to the firm’s environmental legitimacy, we investigate whether environmental corporate governance characteristics are associated with voluntary environmental disclosure. We examine an increasingly important attribute of a firm’s disclosure setting, namely the disclosure of greenhouse gas (GHG) information. GHG information represents proprietary non-financial information about the firm’s exposure to environmental (...) concerns and is related to the firm’s operations and future profitability. Thus, we expect governance participants would view such information as a potentially important strategic device for managing stakeholders’ demands for information concerning environmental risks. We find that the presence of an environmental committee and a Chief Sustainability Officer (CSO) is positively associated with the likelihood of GHG disclosure and that CSOs are associated with disclosure transparency. Further analysis reveals that the likelihood of disclosure is associated with committee size, number of committee meetings, expertise of committee members and CSO, and overlap between the environmental committee and audit committee. Only expertise of the environmental committee members and the CSO are associated with GHG disclosure transparency, while larger committees tend to be associated with lower transparency. Our results are particularly important to those with interests in evaluating the potential role that corporate governance mechanisms play in responding to stakeholder concerns about environmental risks. Directors and officers who are considering appointment to similar governance positions, may wish to consider what attributes would make such governance positions more influential. (shrink)

The creation of a specialized executive position that oversees sustainability activities represents a distinct shift in the structure of top management teams and their approach for addressing sustainability concerns. However, little is known about these management team members, namely the corporate sustainability officers or CSOs. We examine CSO appointments and their association with subsequent sustainability performance. Our results indicate that the creation of a CSO position may represent more of a symbolic versus substantive governance mechanism. Further tests suggest that CSO (...) expertise and the firm’s existing sustainability performance affect the association between the CSO and post-appointment sustainability performance. We find no association between CSO appointments and subsequent sustainability performance for firms that were already poor performers, while firms possessing relatively higher levels of prior sustainability performance appointing a CSO begin to experience significant improvements to performance after 3 years. We further find that CSOs with prior sustainability expertise are associated with increases in sustainability performance in firms that were already strong performers, but not in firms with poor sustainability performance. Non-expert CSOs, on the other hand, are associated with initial decreases in performance for poor performing firms, whereas better performing firms hiring non-expert CSOs are able to rely on other sustainability attributes of the firm and benefit from improvements in performance in the long term. We discuss the potential importance of these positions as it relates to symbolic versus substantive governance mechanisms through the lens of top management team literature streams. (shrink)

In face of the multiple controversies surrounding the DSM process in general and the development of DSM-5 in particular, we have organized a discussion around what we consider six essential questions in further work on the DSM. The six questions involve: 1) the nature of a mental disorder; 2) the definition of mental disorder; 3) the issue of whether, in the current state of psychiatric science, DSM-5 should assume a cautious, conservative posture or an assertive, transformative posture; 4) the role (...) of pragmatic considerations in the construction of DSM-5; 5) the issue of utility of the DSM – whether DSM-III and IV have been designed more for clinicians or researchers, and how this conflict should be dealt with in the new manual; and 6) the possibility and advisability, given all the problems with DSM-III and IV, of designing a different diagnostic system. Part 1 of this article took up the first two questions. Part 2 took up the second two questions. Part 3 now deals with Questions 5 & 6. Question 5 confronts the issue of utility, whether the manual design of DSM-III and IV favors clinicians or researchers, and what that means for DSM-5. Our final question, Question 6, takes up a concluding issue, whether the acknowledged problems with the earlier DSMs warrants a significant overhaul of DSM-5 and future manuals. As in Parts 1 & 2 of this article, the general introduction, as well as the introductions and conclusions for the specific questions, are written by James Phillips, and the responses to commentaries are written by Allen Frances. (shrink)

In perception science, an alternative to focusing on individual sensory systems is to describe the environment to be perceived. We focus on the emergent dynamics of human-environment interactions as an important category of the environment to be perceived. We argue that information about such dynamics is available in subtle patterns of movement variability that, of necessity, stimulate multiple sensory systems.

We argue on consequentialist grounds for the transfer of Sandai, an orangutan, to an orangutan sanctuary. First, we show that satisfying his interest in being transferred brings far greater value than the value achieved by keeping him confined. Second, we show that he has the capacities sufficient for personhood. Third, we show that all persons have a right to relative liberty insofar as they have interests they can exercise only under conditions of relative liberty. Fourth, we show that individuals need (...) not be able to assume social obligations and duties in order to be rights holders. -/- Our argument reflects commitments, as we say, to consequentialist reasoning about moral problems. However, we note that influential representatives of the other dominant ethical traditions—the deontological and Aristotelian traditions—reach our conclusion, too. It makes no difference, in this instance, which ethical theory one adopts. Under all of them, Sandai is a person with an interest in relative liberty entitled to habeas corpus protection. (shrink)

Improvisation is usually either lionized as an ecstatic experience of being in the moment or disparaged as the thoughtless recycling of clichés. Eschewing both of these orthodoxies, _The Philosophy of Improvisation_ ranges across the arts—from music to theater, dance to comedy—and considers the improvised dimension of philosophy itself in order to elaborate an innovative concept of improvisation. Gary Peters turns to many of the major thinkers within continental philosophy—including Heidegger, Nietzsche, Adorno, Kant, Benjamin, and Deleuze—offering readings of their (...) reflections on improvisation and exploring improvisational elements within their thinking. Peters’s wry, humorous style offers an antidote to the frequently overheated celebration of freedom and community that characterizes most writing on the subject. Expanding the field of what counts as improvisation, _The Philosophy of Improvisation_ will be welcomed by anyone striving to comprehend the creative process. (shrink)

Should the law recognize an elephant’s right to be released from solitary confinement? The New York State Court of Appeals—the highest court in the State of New York—will consider this question on May 18. At issue is an Asian elephant named Happy. But happy she is not. Every human being has a right to bodily liberty because they have strong interests that this right protects. Since Happy has the same strong interests, the Court should recognize Happy’s right to be freed (...) from solitary confinement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 35-52 [Access article in PDF] Means Without End:Production, Reception, and Teaching in Kant's Aesthetics Gary Peters The Work of Art If aesthetics is to have a role within an art school context, it must be able to engage with the work of art as an ongoing and ontologically open productive enterprise. The reception of the artwork as a completed thing (...) or act and the aesthetic judgment necessary to take pleasure in the contemplation of it is largely irrelevant to the day-to-day work of the artist in the studio or onsite. Rarely do the tutor or student stand before a work that could be claimed to have reached completion or achieved what might be called "finality." On the contrary, in most cases an essential aspect of teaching practice is precisely to resist the impending closure of the work through a critical engagement which challenges the student to consider and reconsider the aesthetic possibilities of given forms within a situation of infinite reflection. Given this, it is important at the outset to consider Kant's notion of finality without end. So we may at least observe a finality of form, and trace it in objects — though by reflection only — without resting it on an end....Whenever an end is regarded as a source of delight, it always imports an interest as determining ground of the judgment on the object of pleasure. Hence the judgment of taste cannot rest on any subjective end as its ground. But neither can any representation of an objective end, i.e., of the possibility of the object itself on the principles of final connection, determine the judgment of taste. 1Echoing his famous description of art as "purposiveness without purpose," here the Kantian relation between finality and endlessness turns attention away from the art object, and the objective judgment determined by it, to the reflective process whereby the act of aesthetic judgment has primacy as that which acts upon the pleasure attending finality in the manner [End Page 35] of a tracing to be traced and retraced by the receiver. By thus denying finality an objective end, it is true that Kant removes the specter of desire from his aesthetics. But does this not also remove the originary work of the work of art, its eruptive production prior to reproduction in what might be called the "instant" of its creation outside of the "always already there" of what Jean-François Lyotard calls "aesthetic time?" 2 Indeed, to go further still, Maurice Blanchot famously conceives of the art work as harboring a radical "worklessness," a "neutral" absence that, nevertheless, is essential to its being a work, or its being as a work. 3 Does Kant's nonobjective account of aesthetic experience direct us, ultimately, toward this peculiar ontological neutrality, or does the communicative imperative at the heart of his aesthetics overlook what Blanchot would call the "fascination" of the work as the inscrutable presence of an absence? It is this problematic that weighs heavily upon the reading and teaching of Kant's aesthetics as presented here.In Lessons on the Analytic of the Sublime, Lyotard offers one solution to the problem. For him, reflective judgment is itself productive — "production that exceeds simple reproduction is an a priori condition for aesthetic judgment" (LAS, 67). That is to say, the power of the imagination and the pleasure associated with this power concern respectively the exercise and the registration of a productivity that is crucial for aesthetic reception to be possible. But does this playful enjoyment of our receptive/productive faculties and their beautiful attunement not obscure or distract us from the pure and immediate desire of the aesthetic where the concatenation of work and worklessness, that is to say, of production and reception, within the creative moment demands from the artist an interest in the ownership of, and responsibility for the work, as well as an absolute (one might say obsessive) commitment to the work of art — the labor of the aesthetic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 35-52 [Access article in PDF] Means Without End:Production, Reception, and Teaching in Kant's Aesthetics Gary Peters The Work of Art If aesthetics is to have a role within an art school context, it must be able to engage with the work of art as an ongoing and ontologically open productive enterprise. The reception of the artwork as a completed thing (...) or act and the aesthetic judgment necessary to take pleasure in the contemplation of it is largely irrelevant to the day-to-day work of the artist in the studio or onsite. Rarely do the tutor or student stand before a work that could be claimed to have reached completion or achieved what might be called "finality." On the contrary, in most cases an essential aspect of teaching practice is precisely to resist the impending closure of the work through a critical engagement which challenges the student to consider and reconsider the aesthetic possibilities of given forms within a situation of infinite reflection. Given this, it is important at the outset to consider Kant's notion of finality without end. So we may at least observe a finality of form, and trace it in objects — though by reflection only — without resting it on an end....Whenever an end is regarded as a source of delight, it always imports an interest as determining ground of the judgment on the object of pleasure. Hence the judgment of taste cannot rest on any subjective end as its ground. But neither can any representation of an objective end, i.e., of the possibility of the object itself on the principles of final connection, determine the judgment of taste. 1Echoing his famous description of art as "purposiveness without purpose," here the Kantian relation between finality and endlessness turns attention away from the art object, and the objective judgment determined by it, to the reflective process whereby the act of aesthetic judgment has primacy as that which acts upon the pleasure attending finality in the manner [End Page 35] of a tracing to be traced and retraced by the receiver. By thus denying finality an objective end, it is true that Kant removes the specter of desire from his aesthetics. But does this not also remove the originary work of the work of art, its eruptive production prior to reproduction in what might be called the "instant" of its creation outside of the "always already there" of what Jean-François Lyotard calls "aesthetic time?" 2 Indeed, to go further still, Maurice Blanchot famously conceives of the art work as harboring a radical "worklessness," a "neutral" absence that, nevertheless, is essential to its being a work, or its being as a work. 3 Does Kant's nonobjective account of aesthetic experience direct us, ultimately, toward this peculiar ontological neutrality, or does the communicative imperative at the heart of his aesthetics overlook what Blanchot would call the "fascination" of the work as the inscrutable presence of an absence? It is this problematic that weighs heavily upon the reading and teaching of Kant's aesthetics as presented here.In Lessons on the Analytic of the Sublime, Lyotard offers one solution to the problem. For him, reflective judgment is itself productive — "production that exceeds simple reproduction is an a priori condition for aesthetic judgment" (LAS, 67). That is to say, the power of the imagination and the pleasure associated with this power concern respectively the exercise and the registration of a productivity that is crucial for aesthetic reception to be possible. But does this playful enjoyment of our receptive/productive faculties and their beautiful attunement not obscure or distract us from the pure and immediate desire of the aesthetic where the concatenation of work and worklessness, that is to say, of production and reception, within the creative moment demands from the artist an interest in the ownership of, and responsibility for the work, as well as an absolute (one might say obsessive) commitment to the work of art — the labor of the aesthetic... (shrink)

The following reflections are intended as a preliminary to a more extended and in-depth series of case studies, focused analyses of actual artworks, and the issues arising from their particularity within what will be described here as a Heideggerian post-aesthetic aesthetics. The essay is not written from the perspective of a professional or academic philosopher or of a practising artist (even though I am one), neither fields of which have sufficiently engaged with the existential and aesthetic predicament sketched out below. (...) Thus, the attraction of both Heidegger and Blanchot is not just related to their well-known discussions of inbetween-ness, but, more essentially, to the peculiarly in-between location of their own thought and trajectory of thinking: Heidegger from "out of" philosophy "drawn" towards art; Blanchot from within the space ofliterature towards the exteriority of ontological thinking. The intention is to identify similarities and differences in their thought, but this is only perceived as relevant to the extent that it allows an initial reassessment of a de-subjectivized existential and aesthetic mode of thinking that has been largely abandoned by academic philosophy and art practice alike (albeit for very different reasons). If nothing else, the hope is that a different voice might be heard in the clamorous exchange between philosopher and artists, one that is sensitive to the complex predicament of the artist in a post-Heidegerrian world, and which above all remains faithful to the project of the artist and the artwork in the face of the philosophical valorization of "Art". Las siguientes reflexiones se presentan como preliminares a una serie de estudios de caso mas extensos y profundos, analisis focalizados de obras de artes reales, y los temas que surgen de sus particularidades dentro de lo que se describira aqui como una estetica heideggeriana post-estetica. El ensayo no esta escrito desde la perspectiva de un filosofo profesional o academico ni de un artista operante (aunque yo lo soy), ninguno de cuyos campos se ha comprometido suficientemente con el dilema bosquejado mas adelante. Asi pues, la atraccion de Heidegger y Blanchot no solo tiene que ver con sus bien conocidas discusiones sobre la inbetween-ness, sino, mas esencialmente, con la ubicacion particularmente in-between de su propio pensamiento y trayectoria del pensar: Heidegger desde "fuera de" la filosofia "sacado" hacia el arte; Blanchot desde dentro del espacio de la literatura hacia la exterioridad del pensar ontologico. La intencion es identificar similitudes y diferencias en su pensamiento, pero esto solo es percibido como relevante en la medida en que permite una reevaluacion de un modo de pensar existencial y estetico des-subjetivado, que ha sido ampliamente abando-nado por la filosofia academica y la practica del arte (aunque por razones distintas). Sin mas pretensiones, la esperanza es que se pueda escuchar una voz diferente en el intercambio clamoroso entre el filosofo y los artistas; voz que es sensible al complejo dilema del artista en un mundo post-heideggeriano, y que sobre todo permanece fiel al proyecto del artista y a la obra de arte frente a la valorizacion filosofica del "Arte". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Coleridge, Schiller, and Aesthetic EducationGary PetersColeridge, Schiller, and Aesthetic Education, by Michael John Kooy. New York: Palgrave, 2002, 241 pp.Who reads Friedrich Schiller today? With the Aesthetic Education of Man struggling to remain in print in the English-speaking world (at least in the UK, from where I am writing this) it would seem fewer and fewer readers are prepared to engage with (or be educated by) this once (...) influential aestheticization of the world; and as for Marcuse on Schiller, or the young(er) Frederic Jameson on Schiller and Marcuse, they, too, seem to be speaking from another era, an ancient time when the humanist utopian promise could still be taken seriously. Promises are made to be broken, of course, especially the promesse de bonheur, but are we right to feel betrayed by the assorted Schillerians who so passionately raised our hopes, only to fall silent when they were so comprehensively dashed? Perhaps betrayal is putting it too strongly, but the fact remains that we seem to have ended up with a notion of aesthetic education that educates nobody, not even those within art education who need it more than most. But then perhaps the whole notion of aesthetic education as a promise is itself fundamentally flawed, the product of a political reading—the politicization of the aestheticization of the world—that casts the lessons of the aesthetic into the future rather than engaging with the event of the artwork as it erupts in a "now," which is aporetic in the extreme, and thus ill-equipped [End Page 119] to radicalize the unradic1al mind or mobilize the immobile.Clearly, Michael John Kooy reads Schiller today, but, having said that, it is never made entirely clear who he is writing for. Indeed, we may ask, does he have much of an audience at all or is he speaking too long and too late into the vacuum left by the collapse of humanist optimism? His own position is an interesting one, as both a literary theorist and a philosopher; one of the real strengths of the book is Kooy's pursuit of philosophical ideas in the body of Schiller's and Coleridge's dramatic and poetic work, often to good effect, but, to ask the question again, who is listening? Philosophers? Writers? Professional academics or the nonacademic audience that one would assume was always the intended beneficiary of the concept of aesthetic education?To attempt to think around some of these questions, without necessarily trying to answer them, we might start by considering who the philosophical audience for this book might be. My guess is that the philosophy of education, the subgenre of philosophy that might benefit from an aesthetic education itself, will be largely deaf to the message running through these pages. Long dominated by an ethical, religious, and liberal political agenda, the philosophy of education in its hegemonic Anglo-American guise has never made much room for the aesthetic, particularly in its "continental" radical incarnation—far too woolly, idealist, utopian, far too "arty." So, not much of an outlet here, but, having said that, the recent Anglo-American fascination with the very "continental" notion of Bildung might prove to be a fruitful point of contact, and Kooy does devote some useful pages and a substantial epilogue to a discussion of this thorny subject. There is a problem here, however, in that while Kooy is excellent when thinking through the dissonance between the teleological purposiveness of Schiller's and Coleridge's conceptions of universal history, so important to their notion of aesthetic education as a cultural model, and the very different self-substantiating autonomy of Bildung, he is much less engaged with the more fundamental pedagogical issues that arise within the particularity of the teaching encounter: How is the necessary autonomy of aesthetic education to be taught without thereby jeopardizing that very autonomy? It is at this point that a philosophical audience (one engaged in continental philosophy, that is) might have expected a more thorough account of the deeply problematical relationship between the Schillerian notion of aesthetic education and the aesthetics to be found in Kant's Critique of Judgement, its acknowledged source. This is not... (shrink)

The ambition in what follows is to begin a consideration of the lessons that might be learnt from a reassessment of twentieth-century avant-gardist practice within the domain of musical composition. The goal here will not be an evaluation of the compositional outputs of this period but, rather, some reflections on the place and role of teaching within and among the musicians themselves, remembering that many of them gained a considerable reputation as teachers: Arnold Schoenberg, Olivier Messiaen, Karlheinz Stockhausen, and John (...) Cage being the pre-eminent examples.And, as an aside, before too quickly assuming that the radical newness and futurism associated with much avant-gardism is somehow at odds with our... (shrink)

We present ethical reasons that the court should grant the Nonhuman Rights Project’s (NhRP) request for habeas corpus relief for Happy, an elephant. Happy has a basic interest in not being confined, an interest that should be legally protected just as the human interest in not being confined is legally protected. Since the decision in The Nonhuman Rights Project, Inc. v Breheny failed to weigh Happy’s interests properly, we ask this body to correct the error.

This volume, originally published in 2002, assembles the historical sequence of writings that Kant published between 1783 and 1796 to popularize, summarize, amplify and defend the doctrines of his masterpiece, the Critique of Pure Reason of 1781. The best known of them, the Prolegomena, is often recommended to beginning students, but the other texts are also vintage Kant and are important sources for a fully rounded picture of Kant's intellectual development. As with other volumes in the series there are copious (...) linguistic notes and a glossary of key terms. The editorial introductions and explanatory notes shed light on the critical reception accorded Kant by the metaphysicians of his day and on Kant's own efforts to derail his opponents. (shrink)

This essay is concerned with an initial mapping out of a model of intersubjectivity that, viewed within the context of education, breaks with the hegemonic dialogics of current pedagogies. Intent on rethinking the (so-called)problem of solipsism for phenomenology in terms of a pedagogy that situates itself within solitude and the alterity of self and other, Maurice Blanchot and Emmanuel Levinas will here speak as the voices of this other mode of teaching. Beginning with the problematization of intersubjectivity in romantic aesthetics (...) and hermeneutics, I introduce the concept of irony as a crucial element in the conceptualization of this other pedagogical model, one that requires, initially, a discussion of Husserl''s response to the charge of solipsism in the 5th Cartesian Meditation. As a starting point I introduce his symmetrical notion of bodily pairing into a consideration of rhetoric, understood here as an integral part of teaching, thus forging links with phenomenology via the work of Merleau-Ponty. The above provides a context for an extended discussion of pedagogy as it appears in the work of Blanchot and Levinas. Although similar in many respects, on closer inspection it will emerge that important differences are evident in the dissymmetrical and asymmetrical models suggested by the two thinkers respectively. These differences, I will argue, begin to open up a critical perspective on Levinas'' height model of teaching in the name of the more radical configuration of phenomenology and rhetoric to be found in Blanchot. (shrink)

Pioneering work in the 1940s and 1950s suggested that the concept of chunking might be important in many processes of perception, learning and cognition in humans and animals. We summarize here the major sources of evidence for chunking mechanisms, and consider how such mechanisms have been implemented in computational models of the learning process. We distinguish two forms of chunking: the first deliberate, under strategic control, and goal-oriented; the second automatic, continuous, and linked to perceptual processes. Recent work with discrimination-network (...) computational models of long- and short-term memory (EPAM/CHREST) has produced a diverse range of applications of perceptual chunking. We focus on recent successes in verbal learning, expert memory, language acquisition and learning multiple representations, to illustrate the implementation and use of chunking mechanisms within contemporary models of human learning. (shrink)

This latest volume of _The Philosopher's Annual_ presents the ten best articles published in the field during 2001. No limitations are placed on the articles' sources, subject matter or mode of treatment, providing for a diverse collection of engaging, high-caliber work that stands as a valuable sample of contemporary philosophy. This year's volume includes papers by Robert Bernasconi, Hans Halvorson, Christopher Hitchcock, Ignacio Jane, Brian Leiter, Liam Murphy and Thomas Nagel, Joel Pust, Alison Simmons, Jason Stanley and Timothy Williamson, and (...) Crispin Wright. (shrink)

As John Henry Newman reflected on 'The Idea of a University' more than a century and a half ago, Bradley C. S. Watson brings together some of the nation's most eminent thinkers on higher education to reflect on the nature and purposes of the American university today. Their mordant reflections paint a picture of the American university in crisis. This book is essential reading for thoughtful citizens, scholars, and educational policymakers.

In the conclusion to this multi-part article I first review the discussions carried out around the six essential questions in psychiatric diagnosis – the position taken by Allen Frances on each question, the commentaries on the respective question along with Frances’ responses to the commentaries, and my own view of the multiple discussions. In this review I emphasize that the core question is the first – what is the nature of psychiatric illness – and that in some manner all further (...) questions follow from the first. Following this review I attempt to move the discussion forward, addressing the first question from the perspectives of natural kind analysis and complexity analysis. This reflection leads toward a view of psychiatric disorders – and future nosologies – as far more complex and uncertain than we have imagined. (shrink)

Hegel broke open the deadliest assumptions of Western thought by conceiving being as becoming and consciousness as the social-subjective relation of spirit to itself, yet his white Eurocentric conceits were grotesquely inflated even by the standards of his time. With In a Post-Hegelian Spirit, Gary Dorrien emphasizes both sides of this Hegelian legacy, contending that it takes a great deal of digging and refuting to recover the parts of Hegel that still matter for religious thought. By distilling his signature (...) argument about the role of post-Kantian idealism in modern Christian thought, Dorrien fashions a liberationist form of religious idealism: a post-Hegelian religious philosophy that is simultaneously both Hegelian as it expounds a fluid, holistic, open, intersubjective, ambiguous, tragic, and reconciliatory idea of revelation and post-Hegelian, as it rejects the deep-seated flaws in Hegel's thought. Dorrien mines Kant, Schleiermacher, and Hegel as the foundation of his argument about intellectual intuition and the creative power of subjectivity. After analyzing critiques of Hegel by SA, ren Kierkegaard, Karl Marx, Karl Barth, and Emmanuel Levinas, Dorrien contends that though these monumental figures were penetrating in their assessments, they appear one-sided compared to Hegel. In a Post-Hegelian Spirit further engages with the personal idealist tradition founded by Borden Parker Bowne, the process tradition founded by Alfred North Whitehead, and the daring cultural contributions of Paul Tillich, W.E.B. Du Bois, Martin Luther King, Jr., Rosemary Radford Ruether, David Tracy, Peter Hodgson, Edward Farley, Catherine Keller, and Monica Coleman. (shrink)

A prominent and respected philosopher of animal rights law and ethical theory, Gary L. Francione is known for his criticism of animal welfare laws and regulations, his abolitionist theory of animal rights, and his promotion of veganism and nonviolence as the baseline principles of the abolitionist movement. In this collection, Francione advances the most radical theory of animal rights to date. Unlike Peter Singer, Francione maintains that we cannot morally justify using animals under any circumstances, and unlike Tom Regan, (...) Francione's theory applies to all sentient beings, not only to those who have more sophisticated cognitive abilities. (shrink)

Peter Pagin: Indeterminacy of Translation: We discuss the content of the indeterminacy thesis, Quine's arguments for it and his associated behaviorism, consequences of the thesis, and some objections against it.

Nietzsche's use of metaphor has been widely noted but rarely focused to explore specific images in great detail. A Nietzschean Bestiary gathers essays devoted to the most notorious and celebrated beasts in Nietzsche's work. The essays illustrate Nietzsche's ample use of animal imagery, and link it to the dual philosophical purposes of recovering and revivifying human animality, which plays a significant role in his call for de-deifying nature.

A prominent and respected philosopher of animal rights law and ethical theory, Gary L. Francione is known for his criticism of animal welfare laws and regulations, his abolitionist theory of animal rights, and his promotion of veganism and nonviolence as the baseline principles of the abolitionist movement. In this collection, Francione advances the most radical theory of animal rights to date. Unlike Peter Singer, Francione maintains that we cannot morally justify using animals under any circumstances, and unlike Tom Regan, (...) Francione's theory applies to all sentient beings, not only to those who have more sophisticated cognitive abilities. (shrink)

Each year, The Philosopher's Annual presents the ten best articles published in the field of philosophy during the previous twelve months—with the absence of limits on the articles' sources, subject matter, or modes of treatment making for a very diverse collection of engaging, high-caliber work. This year's volume includes papers by Katalin Balog, Tyler Burge, Cheshire Calhoun, Sally Haslanger, Thomas Hofweber, Philip Kitcher, Charles G. Morgan, Thomas W. Pogge, James Pryor, and Elliott Sober.

Each year, _The Philosopher's Annual_ presents the ten best articles published in the field of philosophy during the previous twelve months—with the absence of limits on the articles' sources, subject matter, or modes of treatment making for a very diverse collection of engaging, high-caliber work. This year's volume includes papers by Katalin Balog, Tyler Burge, Cheshire Calhoun, Sally Haslanger, Thomas Hofweber, Philip Kitcher, Charles G. Morgan, Thomas W. Pogge, James Pryor, and Elliott Sober.

Moral leadership matters. As world politics enters a new and dangerous era, judgment, constancy, moral purpose, and a willingness to overcome partisan politicking are essential for America's leaders. Tempered Strength finds the alternative standard of leadership that Americans are seeking in the classical philosophy of prudence. Ethan Fishman's new work brings together leading American political scientists—including Ronald Beiner, Kenneth L. Deutsch, and George Anastaplo—to discuss the evolution of a standard of prudential leadership both reasonable in nature and practical in scope. (...) Section One studies the meaning of prudence and its evolution in the history of political science from Aristotelian phronesis to Xenophon, Thomas Aquinas, Edmund Burke, and Michael Oakeshott. Section Two demonstrates how the theory of prudential leadership can be applied to practical political issues. (shrink)

In face of the multiple controversies surrounding the DSM process in general and the development of DSM-5 in particular, we have organized a discussion around what we consider six essential questions in further work on the DSM. The six questions involve: 1) the nature of a mental disorder; 2) the definition of mental disorder; 3) the issue of whether, in the current state of psychiatric science, DSM-5 should assume a cautious, conservative posture or an assertive, transformative posture; 4) the role (...) of pragmatic considerations in the construction of DSM-5; 5) the issue of utility of the DSM - whether DSM-III and IV have been designed more for clinicians or researchers, and how this conflict should be dealt with in the new manual; and 6) the possibility and advisability, given all the problems with DSM-III and IV, of designing a different diagnostic system. Part I of this article will take up the first two questions. With the first question, invited commentators express a range of opinion regarding the nature of psychiatric disorders, loosely divided into a realist position that the diagnostic categories represent real diseases that we can accurately name and know with our perceptual abilities, a middle, nominalist position that psychiatric disorders do exist in the real world but that our diagnostic categories are constructs that may or may not accurately represent the disorders out there, and finally a purely constructivist position that the diagnostic categories are simply constructs with no evidence of psychiatric disorders in the real world. The second question again offers a range of opinion as to how we should define a mental or psychiatric disorder, including the possibility that we should not try to formulate a definition. The general introduction, as well as the introductions and conclusions for the specific questions, are written by James Phillips, and the responses to commentaries are written by Allen Frances. (shrink)

In face of the multiple controversies surrounding the DSM process in general and the development of DSM-5 in particular, we have organized a discussion around what we consider six essential questions in further work on the DSM. The six questions involve: 1) the nature of a mental disorder; 2) the definition of mental disorder; 3) the issue of whether, in the current state of psychiatric science, DSM-5 should assume a cautious, conservative posture or an assertive, transformative posture; 4) the role (...) of pragmatic considerations in the construction of DSM-5; 5) the issue of utility of the DSM - whether DSM-III and IV have been designed more for clinicians or researchers, and how this conflict should be dealt with in the new manual; and 6) the possibility and advisability, given all the problems with DSM-III and IV, of designing a different diagnostic system. Part I of this article took up the first two questions. Part II will take up the second two questions. Question 3 deals with the question as to whether DSM-V should assume a conservative or assertive posture in making changes from DSM-IV. That question in turn breaks down into discussion of diagnoses that depend on, and aim toward, empirical, scientific validation, and diagnoses that are more value-laden and less amenable to scientific validation. Question 4 takes up the role of pragmatic consideration in a psychiatric nosology, whether the purely empirical considerations need to be tempered by considerations of practical consequence. As in Part 1 of this article, the general introduction, as well as the introductions and conclusions for the specific questions, are written by James Phillips, and the responses to commentaries are written by Allen Frances. (shrink)

Experimenters claim some nonhuman mammals have metacognition. If correct, the results indicate some animal minds are more complex than ordinarily presumed. However, some philosophers argue for a deflationary reading of metacognition experiments, suggesting that the results can be explained in first-order terms. We agree with the deflationary interpretation of the data but we argue that the metacognition research forces the need to recognize a heretofore underappreciated feature in the theory of animal minds, which we call Unity. The disparate mental states (...) of an animal must be unified if deflationary accounts of metacognition are to hold and untoward implications avoided. Furthermore, once Unity is acknowledged, the deflationary interpretation of the experiments reveals an elevated moral standing for the nonhumans in question. (shrink)

As against the view represented here by Peter Hacker and John Canfield, I urge that the philosophies of Quine and Wittgenstein can be reconciled. Both replace the orthodox view of language as resting on reference: Quine with the notion of linguistic disposition, Wittgenstein with the notions of grammar and forms of life. I argue that Wittgenstein's insistence, in the rule-following discussion, that at bottom these are matters of practice, of ‘what we do’, is not only compatible in a rough sort (...) of way with Quine's outlook, but is very close to Quine's naturalistic view of language. And I argue that the likely objections to this can on the one hand be explained away as Quine's having been interested in a very narrow slice of language in comparison with Wittgenstein, and on the other by a failure to take into account later developments in Quine’s views. (shrink)

In this paper I argue for the following six claims: 1) The problem is that some think metacognition and consciousness are dissociable. 2) The solution is not to revive associationist explanations; 3) …nor is the solution to identify metacognition with Carruthers’ gatekeeping mechanism. 4) The solution is to define conscious metacognition; 5) … devise an empirical test for it in humans; and 6) … apply it to animals.

An essential addition to the Stone Reader series, Question Everything is a groundbreaking collection of philosophical essays from some of our foremost thinkers and storytellers. When The Stone Reader-a landmark collection of 133 essays from the New York Times' award-winning philosophy column-first published, in 2015, the world urgently needed insight and wisdom, and for many, the book served as a bulwark of reason against the rising tide of post-fact rhetoric. Now, as disinformation continues to run rampant and our rights are (...) increasingly called into question, editors Peter Catapano and Simon Critchley contend that philosophy in the public sphere is more crucial than ever. Like The Stone Reader and its sequel, Modern Ethics in 77 Arguments, Question Everything delivers the contrarian views, sound arguments, and creative approaches to traditional opinion-writing that loyal readers of the series have come to expect. Its essays, however, are not organized by traditional categories like ethics or epistemology, but thematically by question, thirteen of them in all-the first twelve like the hours of a clock, ticking us through the tumultuous time in which these pieces were written, from late 2015 to 2021, with the last speculating into an uncertain future. The volume begins with the most fundamental of questions: What does it mean to be human? There, contemporary thinkers from Martha Nussbaum to Bernard-Henri Lévy explore the essence of who we are as a species. The next question-Is democracy possible?-interrogates our social and political ideals. While Malka Older calls into question the viability of our institutions, philosophers Gary Gutting and Alex Rosenberg reassess the meaning of patriotism. And onward, with more timeless struggles: What is happiness? Does life have meaning? Finally, it asks, Is this the end of the world as we know it? Now what? While its foundation and core consists of the work of professional scholars and philosophers, Question Everything also features a number of prominent artists and thinkers who may never appear on a philosophy syllabus, including, among others, novelist Elena Ferrante, actor Cate Blanchett, filmmaker Errol Morris, musician Sonny Rollins, and artist Ai Weiwei, all of whom offer insights shaped by decades of devotion to and practice of their crafts. Designed both for immediate gratification and long-term use, Question Everything, with an introduction by Catapano, is not only an essential addition to a much-loved series, but an act of resistance, "a product," as Catapano writes, "of the spirit of agitation and inquiry that has been integral to the human enterprise from the beginning of recorded history.". (shrink)

Constructing Funerary Rituals in the Ancient Near East. Proceedings of the First International Symposium of the Tübingen Post-Graduate School “Symbols of the Dead” in May 2009. Edited by Peter Pfälzner; Herbert Niehr; Ernst Pernicka; and Anne Wissing. Qaṭna Studien Supplementa, vol. 1. Wiesbaden: Harrassowitz Verlag, 2012. Pp. ix + 312, illus. €92.

In his publications since the three-volume Spheres project, Peter Sloterdijk thematizes religion as a now outmoded immunological system. He says it can no longer perform its historical function because humans have lost the protection of a world periphery. The entirety of what was “outside” is now “inside,” and this has happened because: (1) spheres are systems, and as Luhmann shows, systems naturally complexify and expand themselves by becoming self-reflective; and (2), as Nietzsche says, humans are driven by a need to (...) surpass themselves. The loss of world periphery is manifest in the climate crisis, which registers as a general sense that we must “change our lives.” This gives Sloterdijk the chance (or so I argue) to create a new sphere (in the symbolic mode) that can be shared by all humans, a function no so-called world religion can fulfill. This new solidarity would come about when the earth becomes the completing “other” to every self, and individuals act in accordance with the imperative to assure the existence of human life on earth. The last section of the paper contrasts Sloterdijk’s spherology with Latour’s actor–network theory, and his later move into political ecology. I argue that, despite their alliance against “globalism,” Latour and Sloterdijk are working with very different models of space (spheres vs. networks) and have different agendas vis-à-vis the climate crisis. Sloterdijk is trying to build ethical solidarity among humans, while Latour is concerned with a politics (in the Schmittian sense) between both human and nonhuman actors, including Gaia, which is both the space of action (a network of networks) and an actor in its own right. And finally, I take up Sloterdijk’s statement that religions were never anything other than human practices, compared with Latour’s call for acting “religiously,” which means “respecting what others cling to.” I do this by way of showing there are conceptual limitations to the concept of spheres and to Sloterdijk’s project overall. (shrink)