This manuscript investigates the role of argumentative competence in interpersonal dyadic exchanges. Specifically, this study examined the two sub-dimensions of competence, argumentative effectiveness and appropriateness, and their connections with argumentative traits, situational features, and argument satisfaction. In addition, self-perceived versus observed argumentative competence were compared. Participants in the study completed measures before and after a face-to-face argumentative discussion with another person about one of two possible topics. Results revealed that argumentation traits had little effect on argumentative competence, but competence was (...) predicted by one’s knowledge about the topic. Argument satisfaction depended only on arguers’ own competence, not their partners’. Finally, a perceptual bias existed regarding argument effectiveness in that participants rated themselves higher than did observers. (shrink)

This manuscript investigates the role of argumentative competence in interpersonal dyadic exchanges. Specifically, this study examined the two sub-dimensions of competence, argumentative effectiveness and appropriateness, and their connections with argumentative traits, situational features, and argument satisfaction. In addition, self-perceived versus observed argumentative competence were compared. Participants in the study (N = 282, 141 dyads) completed measures before and after a face-to-face argumentative discussion with another person about one of two possible topics (student athlete pay and texting while driving). Results revealed (...) that argumentation traits had little effect on argumentative competence, but competence was predicted by one’s knowledge about the topic. Argument satisfaction depended only on arguers’ own competence, not their partners’. Finally, a perceptual bias existed regarding argument effectiveness (but not appropriateness) in that participants rated themselves higher than did observers. (shrink)

Kendall Walton’s “Categories of Art” (1970) is one of the most important and influential papers in twentieth-century aesthetics. It is almost universally taken to refute traditional aesthetic formalism/empiricism, according to which all that matters aesthetically is what is manifest to perception. Most commentators assume that the argument of “Categories” applies to works of literature. Walton himself notes a word of caution: “The aesthetic properties of works of literature are not happily called ‘perceptual’ … (The notion of perceiving a work in (...) a category … is not straightforwardly applicable to literary works)” (335 n.5). However, he goes on to say that although he focuses “on visual and musical works … the central points I make concerning them hold, with suitable modifications, for novels, plays, and poems as well” (335 n.5). Here I consider what “suitable modifications” are required to extend the account to literature. (shrink)

Some theorists approach the Gordian knot of consciousness by proclaiming its inherent tangle and mystery. Others draw out the sword of reduction and cut the knot to pieces. Philosopher Thomas Metzinger, in his important new book, Being No One: The Self-Model Theory of Subjectivity,1 instead attempts to disentangle the knot one careful strand at a time. The result is an extensive and complex work containing almost 700 pages of philosophical analysis, phenomenological reflection, and scientific data. The text offers a sweeping (...) and comprehensive tour through the entire landscape of consciousness studies, and it lays out Metzinger's rich and stimulating theory of the subjective mind. Metzinger's skilled integration of philosophy and neuroscience provides a valuable framework for interdisciplinary research on consciousness. Metzinger's overall goal in Being No One is to defend a representational theory of subjectivity, one that reduces subjective mental processes to representational mental processes. Subjective experiences take place whe n there is a conscious perspective, an active first-person point of view. It occurs in. (shrink)

BackgroundThe merits and drawbacks of moral relevance models of addiction have predominantly been discussed theoretically, without empirical evidence of these potential effects. This study develops and evaluates a novel survey measure for assessing moral evaluations of patient substance misuse (ME-PSM).MethodsThis measure was tested on 524 health professionals (i.e., physicians, nurses, and other health professionals) in California (n = 173), urban France (n = 102), and urban China (n = 249). Demographic factors associated with ME-PSM were investigated using analyses of variance (...) (ANOVAs) and t-tests, with results suggesting that ME-PSM is higher among younger health professionals, nurses (when compared with physicians and other health professionals), and Chinese health professionals (when compared with French and American health professionals).ResultsResults provide preliminary support for the psychometric quality of the survey measure introduced in this study, including the existence of a single latent structure and partial invariance of collected data across countries.ConclusionThe survey measure for ME-PSM which was developed and tested in the current study appears to hold potential utility for use as a measure of moral views of patient substance misuse. With development, this measure may be used to examine moral evaluations, both as factors of stigma and of other clinical factors associated with the treatment of patients with substance use disorders. (shrink)

‘Smart’ devices are becoming increasingly ubiquitous. While these sophisticated machines are useful for various purposes, they sometimes evoke feelings of eeriness or discomfort that constitute uncanniness, a much-discussed phenomenon in robotics research. Adult participants (N = 115) rated the uncanniness of a hypothetical future smart speaker that was described as possessing the mental capacities for experience, agency, neither, or both. The novel condition prompting participants to attribute both agency and experience to the speaker filled an important theoretical gap in the (...) literature. Consistent with the mind perception hypothesis of uncanniness (MPH; Gray & Wegner, 2012), participants in the with-experience condition rated the device significantly higher in uncanniness than those in the control condition and the with-agency condition. Participants in the with-both (experience and agency) condition also rated the device higher in uncanniness than those in the control condition and the with-agency condition, although this latter difference only approached statistical significance. (shrink)

I argue in this paper that animal biotechnology constitutes a dangerous ontological collapse between animals and the technical-economic apparatus. By ontological collapse, I mean the elimination of fundamental ontological tensions between embodied subjects and the principles of scientific, technological, and economic rationalization. Biotechnology imposes this collapse in various ways: by genetically “reprogramming” animals to serve as uniform commodities, by abstracting them into data and code, and, in some cases, by literally manipulating their movements with computer technologies. These and other forms (...) of ontological violence not only lead to profound physical suffering for the animals involved, but also distort the phenomenological basis of their existence, especially their perceptual experience and expression of subjective time and space. In subordinating nonhuman animals to the logic of “technological rationality” or “technique,” to borrow Herbert Marcuse and Jacques Ellul’s respective terms, biotechnology perpetuates the productive extermination of animals. Biotech animals are exterminated in the sense of being “drive[n] beyond the boundaries” of meaningful existence and “destroyed completely” or “completely wiped out” as subjects. But they are also exterminated in the sense of being “overproduced” and “overgenerated,” both quantitatively and qualitatively. I go on to argue that the collapse of the ontological is accompanied by a collapse of the ethical. This ethical collapse is characterized by the internalization of the logic of technique and the corresponding failure both within technoscientific culture itself and within some scholarly discourses about biotechnology to evaluate from a genuinely critical vantage point the fundamental ethical issues that animal biotechnology raises. The aim of this paper is to offer an alternative analysis of the ontological and ethical implications of biotechnology from the standpoint of Marcuse and Ellul’s critical theory of technology. To explore other ramifications of animal biotechnology, I draw on Theodor Adorno and Max Horkheimer’s insights into ideologies of extermination and Maurice Merleau-Ponty’s phenomenology of embodiment. (shrink)

Do victims’ emotions underlie preschoolers’ moral judgment abilities? Study 1 asked preschoolers (n = 72) to judge actions directed at characters who could and could not feel hurt and who did and did not cry. These judgments took into account only the nature of the action, not the nature of the victim. To further investigate how victims’ emotions might impact children’s moral judgments, Study 2 presented preschoolers (n = 37) with stories that varied in transgression type (Moral, Conventional, or None) (...) and victim’s reaction (Crying Present or Crying Absent). As in Study 1, children’s judgments were affected primarily by transgression type, and not by emotion. In an analogous task, judgments of children with autism spectrum disorders (Study 3; n = 12) were affected by both transgression type and crying. Typically developing children’s moral judgments are thus concerned primarily with action type, not with emotional displays, but the judgments of children with autism spectrum disorders can be swayed by victims’ emotions. (shrink)

‘Smart’ devices are becoming increasingly ubiquitous. While these sophisticated machines are useful for various purposes, they sometimes evoke feelings of eeriness or discomfort that constitute uncanniness, a much-discussed phenomenon in robotics research. Adult participants (N = 115) rated the uncanniness of a hypothetical future smart speaker that was described as possessing the mental capacities for experience, agency, neither, or both. The novel condition prompting participants to attribute both agency and experience to the speaker filled an important theoretical gap in the (...) literature. Consistent with the mind perception hypothesis of uncanniness (MPH; Gray & Wegner, 2012), participants in the with-experience condition rated the device significantly higher in uncanniness than those in the control condition and the with-agency condition. Participants in the with-both (experience and agency) condition also rated the device higher in uncanniness than those in the control condition and the with-agency condition, although this latter difference only approached statistical significance. (shrink)

How do we understand the agency and significance of material forces and their interface with human bodies? What does it mean to be human in these times, with bodies that are inextricably interconnected with our physical world? Bodily Natures considers these questions by grappling with powerful and pervasive material forces and their increasingly harmful effects on the human body. Drawing on feminist theory, environmental studies, and the sciences, Stacy Alaimo focuses on trans-corporeality, or movement across bodies and nature, which (...) has profoundly altered our sense of self. By looking at a broad range of creative and philosophical writings, Alaimo illuminates how science, politics, and culture collide, while considering the closeness of the human body to the environment. (shrink)

1Department of Philosophy, University of Nottingham, University Park, Nottingham NG7 2RD, UK. [email protected] of Philosophy, University of Nottingham, University Park, Nottingham NG7 2RD, UK. [email protected].

By insisting on the importance of materiality, this volume breaks new ground in philosophy, feminist theory, cultural studies, science studies, and other fields where the body and nature collide.

Modelers often rely on robustness analysis, the search for predictions common to several independent models. Robustness analysis has been characterized and championed by Richard Levins and William Wimsatt, who see it as central to modern theoretical practice. The practice has also been severely criticized by Steven Orzack and Elliott Sober, who claim that it is a nonempirical form of confirmation, effective only under unusual circumstances. This paper addresses Orzack and Sober's criticisms by giving a new account of robustness analysis and (...) showing how the practice can identify robust theorems. Once the structure of robust theorems is clearly articulated, it can be shown that such theorems have a degree of confirmation, despite the lack of direct empirical evidence for their truth. (shrink)

Journal of Global Ethics, Volume 9, Issue 3, Page 293-310, December 2013.

In this paper, I review developments in discussions of fiction and emotion over the last decade concerning both the descriptive question of how to classify fiction-directed emotions and the normative question of how to evaluate those emotions. Although many advances have been made on these topics, a mistaken assumption is still common: that we must hold either that fiction-directed emotions are (empirically or normatively) the same as other emotions, or that they are different. I argue that we should reject this (...) dichotomy. (shrink)

A familiar question in the literature on emotional responses to fiction, originally put forward by Colin Radford, is how such responses can be rational. How can we make sense of pitying Anna Karenina when we know there is no such person? In this paper I argue that contrary to the usual interpretation, the question of rationality has nothing to do with the Paradox of Fiction. Instead, the real problem is why there is a divergence in our normative assessments of emotions (...) in different contexts. I argue that explaining this divergence requires a more nuanced account of the rationality of emotion than has previously been proposed. One advantage of my proposal over alternatives is that it helps to explain one way we can learn emotionally from fiction and imagination. (shrink)

I argue that judgments of what is ‘true in a fiction’ presuppose the Reality Assumption: the assumption that everything that is true is fictionally the case, unless excluded by the work. By contrast with the more familiar Reality Principle, the Reality Assumption is not a rule for inferring implied content from what is explicit. Instead, it provides an array of real-world truths that can be used in such inferences. I claim that the Reality Assumption is essential to our ability to (...) understand stories, drawing on a range of empirical evidence that demonstrates our reliance on it in narrative comprehension. However, the Reality Assumption has several unintuitive consequences, not least that what is fictionally the case includes countless facts that neither authors nor readers could ever consider. I argue that such consequences provide no reason to reject the Reality Assumption. I conclude that we should take fictions, like non-fictions, to be about the real world. (shrink)

Overdiagnosis is an emerging problem in health policy and practice: we address its definition and ethical implications. We argue that the definition of overdiagnosis should be expressed at the level of populations. Consider a condition prevalent in a population, customarily labelled with diagnosis A. We propose that overdiagnosis is occurring in respect of that condition in that population when the condition is being identified and labelled with diagnosis A in that population ; this identification and labelling would be accepted as (...) correct in a relevant professional community; but the resulting label and/or intervention carries an unfavourable balance between benefits and harms. We identify challenges in determining and weighting relevant harms, then propose three central ethical considerations in overdiagnosis: the extent of harm done, whether harm is avoidable and whether the primary goal of the actor/s concerned is to benefit themselves or the patient, citizen or society. This distinguishes predatory, misdirected and tragic overdiagnosis; the degree of harm moderates the justifiability of each type. We end with four normative challenges: methods for adjudicating between professional standards and identifying relevant harms and benefits should be procedurally just; individuals, organisations and states are differently responsible for addressing overdiagnosis; overdiagnosis is a matter for distributive justice: the burdens of both overdiagnosis and its prevention could fall on the least-well-off; and communicating about overdiagnosis risks harming those unaware that they may have been overdiagnosed. These challenges will need to be addressed as the field develops. (shrink)

In Undomesticated Ground, Stacy Alaimo issues a bold call to reclaim nature as feminist space.

Statements about fictional characters, such as “Gregor Samsa has been changed into a beetle,” pose the problem of how we can say something true (or false) using empty names. I propose an original solution to this problem that construes such utterances as reports of the “prescriptions to imagine” generated by works of fiction. In particular, I argue that we should construe these utterances as specifying, not what we are supposed to imagine—the propositional object of the imagining—but how we are supposed (...) to imagine. Most other theories of thought and discourse about fictional characters either fail to capture the intentionality of our imaginings, or else obscure the differences between imaginings directed toward fictional characters and those directed toward real individuals. I argue that once we have an account of prescriptions to imagine about real individuals, we can adapt the same framework to specify the contents of prescriptions to imagine about fictional characters, and thereby to account for the truth (or falsity) of statements about fictional characters. (shrink)

In their forthcoming article, ‘What makes a medical intervention invasive?’ De Marco, Simons, and colleagues explore the meaning and usage of the term ‘invasive’ in medical contexts. They describe a ‘Standard Account’, drawn from dictionary definitions, which defines invasiveness as ‘incision of the skin or insertion of an object into the body’. They then highlight cases wherein invasiveness is employed in a manner that is inconsistent with this account (eg, in describing psychotherapy) to argue that the term invasiveness is often (...) used to explicitly or implicitly reference interventions that do not fall under the standard account. The authors offer an alternative ‘schematic’ definition of invasiveness, whereby medical interventions entail an underlying context-independent property of ‘basic invasiveness’ and may be understood both relative to each other and to a context-specific threshold of what is ‘invasive’.1 We propose that the meaning of terms such as ‘invasiveness’ is necessarily heterogeneous, and that what is implied by its usage will certainly depend on context, particularly in medical settings. Hence, the creation of a unifying definition is less critical than clarification of the implied and intended meanings of each instance of the term’s use. We further argue that interpreting the use of terms like ‘invasiveness’ in medical practice is complicated by the embedding of each use of this term in a different ‘language game’, whereby words and their meanings are understood by an in-group familiar with …. (shrink)

George P. Fletcher, With Justice for Some: Victims? Rights in Criminal Trials Reading, MA: Addison?Wesley Publishing Co., 1995, xi + 304 pp.

Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

The currently standard approach to fiction is to define it in terms of imagination. I have argued elsewhere that no conception of imagining is sufficient to distinguish a response appropriate to fiction as opposed to non-fiction. In her contribution Kathleen Stock seeks to refute this objection by providing a more sophisticated account of the kind of propositional imagining prescribed by so-called ‘fictive utterances’. I argue that although Stock's proposal improves on other theories, it too fails to provide an adequate criterion (...) of fictionality. I conclude by sketching an alternative account according to which fiction is a genre. (shrink)

Where do you begin the important conversation about professionalizing early childhood education (ECE) as a field of practice? This book is the tool you need to advance the conversation and shape the future of ECE. Professionalizing Early Childhood Education As a Field of Practice provides an overview of the topic, a participant guide, a conversation workbook, and a facilitator guide to move the conversation forward. Each section supports deep thought and creative discussions to make the overall conversation meaningful and productive (...) for the entire profession. Don't just sit back and listen; be a part of this important conversation.Stacie Goffin is a widely recognized authority in early childhood education with a passion for raising the competence of ECE as a field of practice. She received a degree in child development from the University of Massachusetts Amherst, followed by her master's in early childhood from George Washington University and her executive education certification from Harvard. Stacie currently serves as Principal of the Goffin Strategies Group, where she uses her experience consulting with educational programs to improve effectiveness and services for young children. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of pretense (...) provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

The preface paradox is a problem for everyone; you don’t need to be committed to any special epistemological theory to face the problem it raises. The problem of easy knowledge is supposed to be different in this respect. It is generally thought to arise only for those who believe there is such a thing as basic knowledge, i.e. knowledge acquired through a source that one does not know to be reliable or trustworthy. Because it is thought to arise only for (...) those who believe in basic knowledge, the problem of easy knowledge is generally regarded as a problem for, or objection to, the possibility of basic knowledge. (shrink)

My question, then, is how does Thank You For Smoking, in addition to othercultural and social phenomena such as Parrish’s stance, enact this same divorcebetween the abstract form of corporate America and its particular contents oremployees? My answer is that, to win its viewers’ identification with itscharacters and, through them, its ideological assumptions, the film organises itscontent around an ethical form, that of the tragic hero in Søren Kierkegaard’ssense. Consequently, what I hope to enact in this essay is the revenge (...) of contentupon form, because the form that produces the tragic hero, in Thank You ForSmoking and for Steve Parrish, ignores its own content and thereby threatens toundermine an authentic ethics, which is often intolerant and not necessarilyconsensual. In short, the film, based loosely on the ‘smoking wars’ that began inthe mid 1990s, ultimately champions an impoverished ethics, an ‘ethics ofconsumption’ with the ‘right to consume’ figuring as its first principle. (shrink)