Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

Adults spend most of their conscious life speaking, comprehending, writing, and reading discourse. It is entirely appropriate for cognitive science to investigate discourse especially as transmitted texts or printed media, such as books, newspapers, magazines, and computers. However, there is another reason why text understanding has been one of the prototypical areas of study in cognitive science: Interdisciplinary work is absolutely essential. As cognitive scientists have unraveled the puzzles of text comprehension, they have embraced the insights and methodologies (...) from several disciplines. (shrink)

Baars (1988, 1997) has proposed a psychological theory of consciousness, called global workspace theory. The present study describes a software agent implementation of that theory, called ''Conscious'' Mattie (CMattie). CMattie operates in a clerical domain from within a UNIX operating system, sending messages and interpreting messages in natural language that organize seminars at a university. CMattie fleshes out global workspace theory with a detailed computational model that integrates contemporary architectures in cognitive science and artificial intelligence. Baars (1997) lists the (...) psychological ''facts that any complete theory of consciousness must explain'' in his appendix to In the Theater of Consciousness; global workspace theory was designed to explain these ''facts.'' The present article discusses how the design of CMattie accounts for these facts and thereby the extent to which it implements global workspace theory. (shrink)

Genetically engineered organisms have been at the center of ethical debates among the public and regulators over their potential risks and benefits to the environment and society. Unlike the currently commercial GE crops that express resistance or tolerance to pesticides or herbicides, a new GE crop produces two bioactive nutrients and docosahexaenoic acid ) that heretofore have largely been produced only in aquatic environments. This represents a novel category of risk to ecosystem functioning. The present paper describes why growing oilseed (...) crops engineered to produce EPA and DHA means introducing into a terrestrial ecosystem a pair of highly bioactive nutrients that are novel to terrestrial ecosystems and why that may have ecological and physiological consequences. More importantly perhaps, this paper argues that discussion of this novel risk represents an opportunity to examine the way the debate over genetically modified crops is being conducted. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, (...) social and political philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

Le XIIe siecle, celui des renaissances, est une periode d'echanges multiformes entre traditions, cultures, ecoles. Sans doute aucun siecle n'est-il plus difficile a unifier que celui-ci: l'appropriation des doctrines greco-arabes voisine avec le developpement autonome des arts du langage, le temps d'Abelard est aussi celui de Bernard de Clairvaux, la dialectique s'elabore dans l'affrontement des multiples ecoles ou sectes. Ce foisonnement que n'encadre pas encore l'institution universitaire recoit ici divers eclairages portant sur la conception de la philosophie, sur la cosmologie (...) et les mathematiques ou sur les arts du langage. (shrink)

This book constitutes the strictly refereed post-workshop proceedings of the 11th International Workshop on Computer Science Logic, CSL '97, held as the 1997 Annual Conference of the European Association on Computer Science Logic, EACSL, in Aarhus, Denmark, in August 1997. The volume presents 26 revised full papers selected after two rounds of refereeing from initially 92 submissions; also included are four invited papers. The book addresses all current aspects of computer science logics and its applications and thus (...) presents the state of the art in the area. (shrink)

PRELIMINAR Y STA TEMENT BY IA NNIS XENA KIS Subtended Philosophy* The worlds of classical, contemporary, pop, folk, traditional, avant-garde, etc., ...

Can we really trust the things our bodies tell us about the world? This book reveals how deeply intertwined cultural practices of art and science questioned the authority of the human body in the late eighteenth and early nineteenth centuries. Focusing on Henry Fuseli, Anne-Louis Girodet, and Philippe de Loutherbourg, it argues that Romantic artworks participated in a widespread crisis concerning the body as a source of reliable scientific knowledge. Rarely discussed sources and new archival material illuminate how artists (...) drew upon contemporary sciences and inverted them, undermining their founding empiricist principles. The result is an alternative history of Romantic visual culture that is deeply embroiled in controversies around electricity, mesmerism, physiognomy, and other popular sciences. This volume reorients conventional accounts of Romanticism and some of its most important artworks, while also putting forward a new model for the kinds of questions that we can ask about them. (shrink)

This article tries to provide elements of discussion and reflection rather than answers to the following question: for many centuries or even millennia, man, at least in so far as prehistory and history have recorded it, made a close connection between the beautiful, the true and the useful and he sought an aesthetic response in the minute manifestations of his daily existence as well as of his intellectual life. Today, and even more so for just the past fifty or one (...) hundred years, art seems to be relegated to specific domains, expelled from the daily life of the average person. Yesterday, and for centuries and millennia, mankind was not satisfied with the fact that a house, a temple, a church, a fortification or a castle were lodgings, proper places to hold reunions, strong-holds built for a particular purpose, it was equally important that they be beautiful; a key did not only have to open a lock, a carriage had not only to run, a bit to control a horse, spurs to reassure the rider, a glass pane to close a window, a table to have a place setting, a chest of drawers to contain clothes, clothes to cover the body, a pen to write, a manuscript to transmit the signs of the alphabet—no, it was also necessary that these signs, that manuscript, the pen, the spurs, the bit, the key … be designed and decorated in such a way so as to evoke in the persons who merely saw them, without even using them, an affective emotion of beauty. Nor was it enough that science or a technique be true or useful, they had also to be beautiful. (shrink)

The authors of the book try to integrate the results of multidimensional research on problem of imagination, image, figurative thinking and symbol in a lot of traditions of European thought and contemporary philosophy and social practices.

This paper forms part of a wider study examining the history and sociology of nursing education in England between 1860 and 1948. It argues that the question of whether nursing was an art, science and/or social science has been at die ‘heart’ of a wider debate on die occupational status and disciplinary identity of nursing. The view that nursing was essentially an art and a ‘calling’, was championed by Florence Nightingale. Ethel Bedford Fenwick and her allies insisted that (...) nursing, like other professions, was a ‘scientific’ and technical enterprise. Social scientists later came to challenge nursing's claim to professionalism by analysing nursing work first within die context of industrial psychology. But they also advocated a rapprochement between nursing, health services and social science research, a challenge which we are in nursing, still striving to meet This paper argues for a strong coalition of nursing with its former nineteenth century ally, social science, in die continuing struggle for change within nursing and health care policy. Rather than searching for some rarified and purified essence of nursing knowledge, it argues that nurses need to join forces with sociologists and economists in striving to shape die agenda for health services research and provide die evidential basis for health policy transformation more generally. (shrink)

Here I examine the potential for art-science collaborations to be the basis for deliberative discussions on research agendas and direction. Responsible Research and Innovation has become a science policy goal in synthetic biology and several other high-profile areas of scientific research. While art-science collaborations offer the potential to engage both publics and scientists and thus possess the potential to facilitate the desired “mutual responsiveness” between researchers, institutional actors, publics and various stakeholders, there are potential challenges in effectively (...) implementing collaborations as well as dangers in potentially instrumentalizing artistic work for science policy or innovation agendas when power differentials in collaborations remain unacknowledged. Art-science collaborations can be thought of as processes of exchange which require acknowledgement of and attention to artistic agendas as well as identification of and attention to aesthetic dimensions of scientific research. I suggest the advantage of specifically identifying public engagement/science communication as a distinct aspect of such projects so that aesthetic, scientific or social science/philosophical research agendas are not subsumed to the assumption that the primary or only value of art-science collaborations is as a form of public engagement or science communication to mediate biological research community public relations. Likewise, there may be potential benefits of acknowledging an art-science-RRI triangle as stepping stone to a more reflexive research agenda within the STS/science communication/science policy community. Using BrisSynBio, an EPSRC/BBSRC-funded research centre in synthetic biology, I will discuss the framing for art-science collaborations and practical implementation and make remarks on what happened there. The empirical evidence reviewed here supports the model I propose but additionally, points to the need to broaden the conception of and possible purposes, or motivations for art, for example, in the case of cross-sectoral collaboration with community engaged art. (shrink)

This book reveals how, when, where and why vitalism and its relationship to new scientific theories, philosophies and concepts of energy became seminal from the fin de siècle until the Second World War for such Modernists as Sophie Tauber-Arp, Hugo Ball, Juliette Bisson, Eva Carrière, Salvador Dalì, Robert Delaunay, Marcel Duchamp, Edvard Munch, Picasso, Yves Tanguy, Gino Severini and John Cage. For them Vitalism entailed the conception of life as a constant process of metamorphosis impelled by the free flow of (...) energies, imaginings, intuition and memories, unconstrained by mechanistic materialism and chronometric imperatives, to generate what the philosopher Henri Bergson aptly called Creative Evolution. Following the three main dimensions of Vitalist Modernism, the first part of this book reveals how biovitalism at the fin de siècle entailed the pursuit of corporeal regeneration through absorption in raw nature, wholesome environments, aquatic therapies, electromagnetism, heliotherapy, modern sports, particularly rugby; water sports, the Olympic Games and physical culture to energize the human body and vitalize its life force. This is illuminated by artists as geoculturally diverse as Gustave Caillebotte, Thomas Eakins, Munch and Albert Gleizes. The second part illuminates how simultaneously vitalism became aligned with anthroposophy, esotericism, magnetism, occultism, parapsychology, spiritism, theosophy and what Bergson called "psychic states", alongside such new sciences as electromagnetism, radiology and the Fourth Dimension, as captured by such artists as Juliette Bisson, Giacomo Balla, Albert Besnard, Umberto Boccioni, Eva Carrière, John Gerrard Keulemans, László Mohology-Nagy, James Tissot, Albert von Schrenck Notzing and Picasso. During and after the devastation of the First World War, the third part explores how Vitalism, particularly Bergson's theory of becoming, became associated with Dadaist, Neo-Dadaist and Surrealist notions of amorality, atemporality, dysfunctionality, entropy, irrationality, inversion, negation and the nonsensical captured by Hans Arp, Charlie Chaplin, Theo Van Doesburg, Kazimir Malevich, Kurt Schwitters and Vladimir Tatlin alongside Cage's concept of Nothing. After investigating the widespread engagement with Bergson's philosophies, Vitalism and art by Anarchists, Marxists and Communists during and after the First World War, it concludes with the official rejection of Bergson and any form of Vitalism in the Soviet Union under Stalin. This book will be of vital interest to gallery, exhibition and museum curators and visitors plus readers and scholars working in art history, art theory, cultural studies, modernist studies, occult studies, European art and literature, health, histories of science, philosophy, psychology, sociology, sport studies, heritage studies, museum studies and curatorship. (shrink)

This paper, based on the recent UNESCO report Our Cultural Diversity, makes a plea for including art as an integral part of culture. Serious doubts are raised about the long-term effects oflopsided scientific-technical education. The pioneering but neglected ideas of Goethe, Schiller, Steiner, Tagore and Read on the role of art in total human development have been discussed. According to the author, the critical innovation in the sphere of education is now going to be on the borders between art, (...) class='Hi'>science and religion. (shrink)

Reason is often thought of as a fixed entity, as a definitive body of facts that do not change over time. But during the Enlightenment reason was also seen as a process, as a set of skills enacted on a daily basis. How, why, and where were these skills learned? Concentrating on the notebooks created by Scottish students over the course of the long eighteenth century, Matthew Eddy argues that notekeeping was a mode of writing and rewriting reason. He reveals (...) it as a capability-building exercise that enabled students to mobilize everyday forms of material culture in a way that empowered them to judge and enact the enlightened principles they encountered in the classroom. The cognitive skills required to make and use notebooks were not simply aids to reason-they were part of reason itself. The book begins by problematizing John Locke's comparison of the mind to a blank piece of paper, the tabula rasa. Although it is one of the most recognizable metaphors of the British Enlightenment, scholars seldom consider why it was so successful for those who used it. Eddy makes a case for using the material culture of early modern manuscripts to expand the meaning of the metaphor in a way that offers a clearer understanding of the direct relationship that notekeepers learned to draw between reasoning and notekeeping. Starting in the home, moving to schools, and then ending with universities, the rest of the book explores this argument by reconstructing the relationship from the bottom up. Media and the Mind will prove useful to those interested in book history, manuscript culture, history of education, history of childhood, Scottish Enlightenment philosophy, and the Enlightenment broadly understood. (shrink)

Finding avenues for collaboration and engagement between the arts and the sciences (natural and social) was a central theme of investigation for the Responsible Research and Innovation (RRI) and Public Engagement programme at BrisSynBio, a BBSRC/EPSRC Synthetic Biology Research Centre that is now part of the Bristol BioDesign Institute at University of Bristol (UK). The reflections and experiments that appear in this dossier are a sample of these investigations and are contributed by Maria Fannin, Katy Connor and David Roden. Darian (...) Meacham coordinated and introduces the dossier. (shrink)

Maurits Cornelis Escher’s 1938 lithograph, Cycle, illustrates what mathematical physicist Roger Penrose calls ‘impossible objects’. The illusion of three-dimensionality, the innovative use of tessellation, and the incorporation of traditionally figurative elements induce the viewer to perceive the lithographic print as depicting a visually plausible reality built on the deconstructive metamorphosis of man into cube. It is Escher’s ability to paradoxically combine the radical oppositions of man and cube, landscape and geometric abstraction into an apparently harmonious composition where shapes repeat with (...) subtle variation and almost imperceptibly transition into radically different shapes that I want to use as a visual paradigm for conceptualizing the shifts in human consciousness in the digital age. Roger Penrose, path-breaking theorist of consciousness as a physical but non-computational process, was inspired by and inspired Escher. Penrose’s provisional concepts of consciousness, time and space can be visually compared to Escher’s earlier man-cube renderings, where each of these individual design elements allows the transition to another shape. In other words, Penrose’s theories, like Escher’s design concepts, illustrate a moment of transition in consciousness theory. As in Escher’s Cycle, the individual elements are being continually redefined, reshaped and revealed. Each may be a unique distortion of the previous, but this does not mean that it is disconnected or independent of the final outcome. These distortions are transitional elements that lead us visually to the other side of the composition. Radical transformations and developing connectedness in the boundaries between art, technology and science function like the individual elements in Escher’s Cycle. As we try to define the shifts in human consciousness occurring in the digital age, visually speaking, we are focusing on only one element right in the middle of an Escher metamorphosis, unable to see exactly how this element will be part of the completed design. This thought can be both frightening and liberating: frightening because we humans are used to relying on boundaries and predictable outcomes to feel a sense of control, liberating because anything and everything is possible and the changes will occur naturally as part of the transition. If Escher teaches us anything, it is that each piece in the meta-morphosis is needed to complete the big picture. (shrink)

The opening words for symposium Art Approaching Science and Religion.

Abstract The concepts of consciousness and the unconscious have been problematic for cognitive science. This paper is an attempt to determine if artistic and, especially, scientific creativity, taken as a paradigm of cognitive activity, can be explained without recourse to the concept of the unconscious. It opens with a description of creative experience, guided by the works of Arthur Koestler and Abraham Pais and illustrated by anecdotes from the history of science. It then offers a summary and critique (...) of the classical Freudian account of creativity. Next, adopting the perspective of connectionism or parallel distributed processing, the paper proceeds to examine the possibility of creative insight in neural networks. It closes with some observations on the brain/mind problem and with remarks on the necessity and usefulness of the unconscious as an explanatory construct. (shrink)

The sharing of emotional experiences, whether in face-to-face interactions or anonymously through written communications, can influence a person's psychological and physical well-being. The mediating mechanisms are, however, poorly understood. The present comment concerns ambiguities that may result when concepts from ordinary language, such as emotion, cognition, and related metaphors, are applied to presumed mediating mechanisms.

This contribution includes three selected works from an exhibition on _Cyborg Encounters_. These works deal with hybrid connections of human and non-human species that (might) emerge as a result of enhancement technologies and bio-technological developments. They offer not only an artistic exploration of contemporary but also futuristic aspects of the subject. Followed by an introduction by Melike Şahinol, _Critically Endangered Artwork_ (by Ayşe Melis Okay) highlights Turkey’s ongoing problems of food poverty and the amount of decreasing agricultural lands. It displays (...) seeds of a promising endemic plant to mitigate these problems using the seeds of the _Thermopsis Turcica_, a herbaceous perennial endemic plant. _Ecomasculinist Pregnancy_ (by Burak Taşdizen and Charles John McKinnon Bell) follows the design fiction methodology and illustrates a future scenario through a patient’s diary and the medical letters he receives during his pregnancy with an extinct sea-lion. _Polluted Homes_ (by Beyza Dilem Topdal) is a fictional art installation consisting of polychaete species evolved in time under the ecological circumstances prevalent in the Bosphorus and the Sea of Marmara today. These works show, that manufacturing life has consequences, not only for the human body and its physical appearance, but also, for example, for gender orders, the social structure of society, and even the environment, and thus for (re)shaping (non)living matter and their environments. This Art-Science Collection intends to provide an impetus for debate about the extent to which cyborg encounters should be taken seriously. (shrink)

The stories we tell in our attempt to make sense of the world, our myths and religion, literature and philosophy, science and art, are the comforting vehicles we use to transmit ideas of order. But beneath the quest for order lies the uneasy dread of fundamental disorder. True chaos is hard to imagine and even harder to represent, especially without some recourse to the familiar coherency of order. In this book, Martin Meisel considers the long effort to conjure, depict, (...) and rationalize extreme disorder, with all the passions, excitements, and compromises the act has provoked. In seven chapters--"Shaping Chaos," "Nothing and Something," "Number," "Carnival," "War," "Energy," and "Entropy"--Meisel builds a rough history from major social, psychological, and cosmological turning points in the imagining of chaos. He uses examples from literature, philosophy, painting, graphic art, science, linguistics, music, and film, particularly exploring the remarkable shift in the eighteenth and nineteenth centuries from conceiving of chaos as disruptive to celebrating its liberating and energizing potential. Discussions of Sophocles, Plato, Lucretius, Calderon, Milton, Haydn, Blake, Faraday, Chekhov, Faulkner, Wells, and Beckett, among others, are matched with incisive readings of art by Brueghel, Rubens, Goya, Turner, Dix, Dada and the futurists. Meisel addresses the revolution in mapping energy and entropy and the manifold impact of thermodynamics. Known for his pathbreaking studies of literature, drama, and the visual arts, Meisel uses this chaotic frame to elaborate on larger concerns of purpose, mortality, meaning, and mind. (shrink)

There is a bookshop in Cambridge, England, which only sells books published by the Cambridge University Press. It is a common experience for browsers to pull a book off the shelf, attracted by the...

This paper, based on the recent UNESCO report Our Cultural Diversity, makes a plea for including art as an integral part of culture. Serious doubts are raised about the long-term effects oflopsided scientific-technical education. The pioneering but neglected ideas of Goethe, Schiller, Steiner, Tagore and Read on the role of art in total human development have been discussed. According to the author, the critical innovation in the sphere of education is now going to be on the borders between art, (...) class='Hi'>science and religion. (shrink)

Seen | Unseen is a richly illustrated, analysis of the interconnections between science and the visual arts as Martin Kemp explores the responses of artists, scientists and their instruments, to the world. From Leonardo, Durer and the inventors of photography to contemporary sculptors, and from Galileo and Darwin to Stephen J. Gould, Kemp considers the way in which scientists and artists have perceived the world and responded to its patterns.

(1994). The moving boundary: Art, science, and the construction of reality. World Futures: Vol. 40, Art and Science: Studies from the World Academy of Art and Science, pp. 27-34.

The interactive correspondence of art, science, and preservation supports the composition of a four-volume anonymous herbarium originally belonging first to the Venetian library of Ambassador Hurtado de Mendoza, and later endowed to the Royal Library of the Monastery-Palace of El Escorial. This planted knowledge consist­ed of artistic and scientific practices to preserve not only the plants dried and glued to recycled paper, but the association of those plants, with names, stories, and contexts in ways that attest to the development (...) of natural history and philosophy in sixteenth-century Italy and Spain. This article describes and analyzes the composition of the Hurtado herbarium, its provenance, and its place in the context of early modern European naturalism and botany. Finally, it considers problems of reading this collection, and possible solutions to better understand the herbarium in El Escorial as another piece of this network of dissemination of ethnobotanical knowledge in early modern Europe. (shrink)

Symbolism is a primary characteristic of the mind, deployed and displayed in every aspect of our thought and culture. In this important and broad-ranging book, Israel Scheffler explores the various ways in which the mind functions symbolically. This involves considering not only the world of science and the arts, but also such activities as religious ritual and child's play. The book offers an integrated treatment of ambiguity and metaphor, analyses of play and ritual, and an extended discussion of the (...) relations between scientific symbol systems and reality. What emerges is a picture of the basic symbol-forming character of the mind. In addition to philosophers of art and science, likely readers of this book will include students of linguistics, semiotics, anthropology, religion, and psychology. (shrink)

Symbolic Worlds contains fifteen chapters, with all but the first published between 1972 and 1996. The unifying theme concerns aspects of the symbolic function in language, science, art, ritual, and play. The approach is nominalist and heavily influenced by the work of Nelson Goodman.