Attempts to understand farmer conservation behavior based on quantitative socio-demographic, attitude, and awareness variables have been largely inconclusive. In order to understand fully how farmers are making conservation decisions, 32 in-depth interviews were conducted in the Eagle Creek watershed in central Indiana. Coding for environmental attitudes and practice adoption revealed several dominant themes, representing multi-dimensional aspects of environmental attitudes. Farmers who were motivated by off-farm environmental benefits and those who identified responsibilities to others (stewardship) were most likely to adopt conservation (...) practices. Those farmers who focused on the farm as business and were most concerned about profitability were less likely to adopt practices. The notion of environmental stewardship in particular was found to be much more complex than the way it is traditionally measured in quantitative studies. The interplay between on-farm and off-farm benefits to practice adoption is an issue that quantitative studies largely do not address. This study seeks to increase understanding of farmers’ environmental attitudes and the connections to conservation behavior. (shrink)

We report specific heat and μSR measurements on Th and/or B substituted UBe13. The specific heat data show that either Th or B substitution reduces the Kondo temperature TK and increases the entropy at the superconducting transition by almost 20%, indicating an enhanced density of states. However, whereas μSR shows clear evidence for magnetic correlations for Th substitutions, no magnetism is observed for B substitutions. The enhanced specific heat jump in the B-substituted material is associated with a change in the (...) superconducting properties as TK is reduced. (shrink)

Dimensions of character are often overlooked in professional practice at the expense of the development of technical competence and operational efficiency. Drawing on philosophical accounts of virtue ethics and positive psychology, the present work attempts to elevate the role of ‘good’ character in the professional domain. A ‘good’ professional is ideally one that exemplifies dimensions of character informed by sound judgement. A total of 2340 professionals, from five discrete professions, were profiled based on their valuation of qualities pertaining to character (...) and judgement. Profile differences were subsequently examined in the self-reported experience of professional purpose towards a wider societal ‘good’. Analysis of covariance, controlling for stage of career, revealed that professionals valuing character reported higher professional purpose than those overweighting the importance of judgement or valuing neither character nor judgement, F = 7.92, p <.001. No differences were found between the two groups valuing character, irrespective of whether judgement was valued simultaneously. This profiling analysis of entry-level and in-service professionals, based on their holistic character composition, paves the way for fresh philosophical discussion regarding what constitutes a ‘good’ professional and the interplay between character and judgement. The empirical findings may be of substantive value in helping to recognise how the dimensions of character and judgement may impact upon practitioners’ professional purpose. (shrink)

1 Evidence-based policy requires researchers to provide the answers to ecological questions that are of interest to policy makers. To find out what those questions are in the UK, representatives from 28 organizations involved in policy, together with scientists from 10 academic institutions, were asked to generate a list of questions from their organizations. 2 During a 2-day workshop the initial list of 1003 questions generated from consulting at least 654 policy makers and academics was used as a basis for (...) generating a short list of 100 questions of significant policy relevance. Short-listing was decided on the basis of the preferences of the representatives from the policy-led organizations. 3 The areas covered included most major issues of environmental concern in the UK, including agriculture, marine fisheries, climate change, ecosystem function and land management. 4 The most striking outcome was the preference for general questions rather than narrow ones. The reason is that policy is driven by broad issues rather than specific ones. In contrast, scientists are frequently best equipped to answer specific questions. This means that it may be necessary to extract the underpinning specific question before researchers can proceed. 5 Synthesis and applications. Greater communication between policy makers and scientists is required in order to ensure that applied ecologists are dealing with issues in a way that can feed into policy. It is particularly important that applied ecologists emphasize the generic value of their work wherever possible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 478-480 [Access article in PDF] The German Aesthetic Tradition,by Kai Hammermeister; xv & 259 pp. Cambridge: Cambridge University Press, 2002; $60.00 cloth; $22.00 paper. In some ways, aesthetic theory has become a thing of the past. With the exception of a kind of fascination with works such as T. W. Adorno's Aesthetic Theory, as a project, as a tradition, aesthetics has surrendered its once (...) monolithic and grandiose position as the philosophical contemplation of art and the notion of artistic beauty to more diminutive fields such as literary theory, poetics and cultural studies. In some ways, this is due to the very function of aesthetics: the philosophical investigation not simply of what is beautiful, but the formulation of prescriptive ideas about works of art and the judgement them according to these prescriptive ideas. This, in turn, has been looked upon with a certain degree of scorn with the rise of a more pluralistic art world and the bold denial that art needs the guidance of philosophy let alone have any prescriptive function or be able to be classified as "good" or "bad."But Kai Hammermeister's The German Aesthetic Tradition takes a very different view. A bold and difficult project, Hammermeister traces the complex and oftentimes abstruse contours of German aesthetic philosophy from its inception with Baumgarten in the eighteenth century through Adorno in the twentieth. In the process, he not only provides us with an excellent historical-philosophical account of the development of German aesthetic philosophy, he also implicitly argues for the relevance of aesthetics as a way not only of comprehending art, but of understanding the cohesive links between art, society, culture and philosophy.The German aesthetic tradition, as Hammermeister refers to it, was a prolonged intellectual argumentation with classical conceptions of art and beauty inherited from classical Greek thought during the eighteenth century. Classical aesthetics was dominated by two opposing conceptions of art and its function. For Plato, art mirrored the outside world (mimesis) and the judgement of good works of art was based on how well this mirroring of the objective world was carried out. Aristotle's idea was that art served a purgatory function (katharsis), cleansing the emotions of the individual through the identification of the observer with the work of art. All of the thinkers in the German tradition wrestle with this dual conception of art in some form privileging one over the other or, more often than not, combining them and extending their explanatory reach. But as in any tradition, they also struggle with the ideas and philosophies of previous thinkers within the tradition itself making Hammermeister's task more complex, one that he handles with adroitness and precision.The book's overarching argument and structure is triadic. Hammermeister sees the eighteenth century through German Idealism and Romanticism as [End Page 478] articulating a set of different paradigms for interpreting art. These are subsequently attacked in post-Hegelian philosophy and are then revived in different ways in the twentieth century as a reaction to Nietzsche's aestheticization of philosophy. Two paradigms emerge as central for the subsequent unfolding of the tradition. First, there is Immanuel Kant's conception of art as wholly separate from epistemology and from morality. For Kant, the work of art is centered in the experience of the subject and, in terms of form, exists outside its social context. This Hammermeister calls the "first strong paradigm of aesthetics" (p. 40). Next, there is the position of Friedrich Schiller who sees a connection between the work of art with culture, thought and morality. "[T]he culture of beauty demonstrates the freedom of man to turn himself into whatever being he envisions while remaining under the law of morality" (p. 57). For Schiller, there exists a kind of spillover effect of art into other domains of human thought and action—specifically in morality and politics—and this represents a crucial deviation from Kant's paradigm and another tendency within the tradition of German aesthetics, i.e., the aestheticization of other domains of human existence.Schelling and Hegel represent two other... (shrink)

Pekakak adalah salah satu tokoh yang memiliki pengetahuan mendalam dan perencanaan yang cermat. Saat fajar menyingsing, ia terlihat bertengger di atas pohon. Dengan kemampuan sempurna untuk mengontrol kecepatan penerbangan miliknya, seperti kapan harus memperlambat atau mempercepat, dia dapat dengan mudah menghitung cara optimal untuk menangkap ikan.

Man will never be virtuous, until his interests instruct him to be so. So long as these shall even so much as seem opposed to his virtue, he will inevitably pursue the former and renounce the latter. That which must be done, is to clear from his mind the horrible mists and fogs of prejudice--bid him no longer worship the cold prescriptions of policy, for the warm principles of justice--to free his soul from the fetters of authority--to remit and exalt (...) him to himself--to let him seek, by the light of his conscience alone, in the joyous, genial climate of his own free spirit, for all the rules of his conduct. Then, and not till then, will he be virtuous and happy.--(PsycINFO Database Record (c) 2008 APA, all rights reserved). (shrink)

Richard P. Haynes, founding editor of _Agriculture and Human Values_, was an Associate Professor in the Department of Philosophy at the University of Florida. His personal interests in the environmental dimensions of agriculture led him to found the journal in the 1980s with support from the W.K. Kellogg Foundation. Later in life, he published on ethical treatment of lab and farm animals. Haynes understood _Agriculture and Human Values_ as a broadly multidisciplinary and interdisciplinary platform for critical studies of agriculture and (...) food systems. As he took over the editorship of _The Journal of Agricultural and Environmental Ethics_ in the 1990s, he fashioned it as a complementary outlet for more traditionally philosophical studies of environmental and agricultural topics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.1 (2004) 218-220 [Access article in PDF] The German Aesthetic Tradition, by Kai Hammermeister; xv & 259 pp. Cambridge: Cambridge University Press, 2002, $22 paper. In some ways, aesthetic theory has become a thing of the past. With the exception of a kind of fascination with works such as T. W. Adorno's Aesthetic Theory, aesthetics, as a project or tradition, has surrendered its once monolithic and (...) grandiose position as the philosophical contemplation of art and the notion of artistic beauty to more diminutive fields such as literary theory, poetics, and cultural studies. In some ways, this is due to the very function of aesthetics: the philosophical investigation not simply of what is beautiful, but the formulation of prescriptive ideas about works of art and the judgment them according to these prescriptive ideas. This, in turn, has been looked upon with a certain degree of scorn with the rise of a more pluralistic art world, and the bold denial that art needs the guidance of philosophy let alone have any prescriptive function or be able to be classified as "good" or "bad."However, Kai Hammermeister's The German Aesthetic Tradition takes a very different view. A bold and difficult project, Hammermeister traces the complex and often abstruse contours of German aesthetic philosophy from its inception with Baumgarten in the eighteenth century through Adorno in the twentieth. In the process, he not only provides us with an excellent historical-philosophical account of the development of German aesthetic philosophy, he also implicitly argues for the relevance of aesthetics as a way not only of comprehending art, but of understanding the cohesive links between art, society, culture, and philosophy.The German aesthetic tradition, as Hammermeister refers to it, was a prolonged intellectual argumentation with classical conceptions of art and beauty inherited from classical Greek thought during the eighteenth century. Classical aesthetics was dominated by two opposing conceptions of art and its function. For Plato, art mirrored the outside world (mimesis) and the judgement of good works of art was based on how well this mirroring of the objective world was carried out. Aristotle's idea was that art served a purgatory function (katharsis), cleansing the emotions of the individual through the identification of the observer with the work of art. All of the thinkers in the German tradition [End Page 218] wrestle with this dual conception of art, in some form privileging one over the other—or, more often than not, combining them and extending their explanatory reach. But as in any tradition, they also struggle with the ideas and philosophies of previous thinkers within the tradition itself, making Hammermeister's task more complex. Yet it is one that he handles with adroitness and precision.The book's overarching argument and structure is triadic. Hammermeister sees the eighteenth century through German Idealism and Romanticism as articulating a set of different paradigms for interpreting art. These are subsequently attacked in post-Hegelian philosophy, and are then revived in different ways in the twentieth century as a reaction to Nietzsche's aestheticization of philosophy. Two paradigms emerge as central for the subsequent unfolding of the tradition. First, there is Immanuel Kant's conception of art as a wholly separate from epistemology and from morality. For Kant, the work of art is centered in the experience of the subject and, in terms of form, exists outside its social context. This Hammermeister calls the "first strong paradigm of aesthetics" (p. 40). Next, there is the position of Friedrich Schiller who sees a connection between the work of art and culture, thought, and morality. Schiller writes that, "the culture of beauty demonstrates the freedom of man to turn himself into whatever being he envisions while remaining under the law of morality" (p. 57). For Schiller, there exists a kind of spillover effect of art into other domains of human thought and action—specifically in morality and politics—and this represents a crucial deviation from Kant's paradigm, and another tendency within the tradition of German aesthetics; that is, the aestheticization of other domains of human existence.Schelling and Hegel represent two other... (shrink)

Keith Thomas: Gerald Edward Aylmer, 1926-2000 Adrian Hollis: William Spencer Barrett, 1914-2001 Bruce Williams: Charles Frederick Carter, 1919-2002 Malcolm Mackintosh: John Erickson, 1929-2002 J. H .R. Davis: Raymond William Firth, 1901-2002 F. M. L. Thompson: Hrothgar John Habakkuk, 1915-2002 A. W. Price: Richard Mervyn Hare, 1919-2002 Hugh Lloyd-Jones: Geoffrey Stephen Kirk, 1921-2003 Michael Lapidge and Peter Matthews: Vivien Anne Law, 1954-2002 Ann Moss: John Lough, 1913-2000 Terence Cave: Ian Dalrymple McFarlane, 1915-2002 Ludwig Paul: David Neil MacKenzie, 1926-2001 Peter Birks: (...) John Kieran Barry Moylan Nicholas, 1919-2002 Jonathan Shepard: Dimitri Dimitrievich Obolensky, 1918-2001 David Cannadine: John Harold Plumb, 1911-2001 Daniel Waley: Nicolai Rubinstein, 1911-2002 Ian Wood: John Michael Wallace-Hadrill, 1916-1985 R. G. M. Nisbet: William Smith Watt, 1913-2002 G. W. Bernard: Richard Bruce Wernham, 1906-1999. (shrink)

Geared toward readers already acquainted with special relativity, this book transcends the view of theory as a working tool to answer natural questions: What is ...

In the October 1937 number of Philosophy of Science Lindsay has made certain criticisms of the adequacy of the “operational method” of analyzing and giving meaning to the concepts of physics, documenting his criticisms chiefly from my own writings. In these criticisms he has made statements as to the method which I would by no means accept. This is not characteristic of his paper only, for I have seldom indeed seen a printed discussion of the method which I would accept (...) as being an adequate or sometimes even fair representation of what I understand by it. It will perhaps pay therefore if I attempt to state what I conceive it to be all about, particularly since I have never attempted such a comprehensive statement and since my own ideas on the subject have been developing since I first wrote in the Logic of Modern Physics. For one reason I have hesitated to do this, for fear of seeming to subscribe to the not uncommon idea that we are dealing with some elaborate and profound new theory of the nature of knowledge or of meaning. I believe that I myself have never talked of “operationalism” or “operationism”, but I have a distaste for these grandiloquent words which imply something more philosophic and esoteric than the simple thing that I see. What we are here concerned with is an observation and description of methods which at least some physicists had already, perhaps unconsciously, adopted and found successful—the practise of the methods already existed. What I have attempted is to analyze these successful methods, not to set up a philosophical system and a theory of the properties that any method must have if it hopes to be successful. Since I was concerned with a technique already extant, my principal method of getting others to see what the technique involved has been to exhibit examples of the technique in action, rather than to attempt any exhaustive characterization of the technique itself. (shrink)