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)

It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court as (...) a central case of this injustice. In section 2, we distinguish art-interpretive injustice from other categories already discussed in recent literature. In section 3, we discuss the relationship between genre discourse and identity prejudice. The case for recognizing the category of art-interpretive injustice is that it allows one to recognize a class of harms as being importantly related in ways that one would otherwise overlook. (shrink)

La vie de Nicolas d'Autrecourt (1298-1369) connait un tournant decisif en 1346. Il est en effet contraint d'abjurer certaines de ses theses et de renoncer a tout droit a l'enseignement. Celui qui fut vers 1330-1340 l'une des principales figures de la faculte des Arts, aux cotes de Buridan, doit mettre un terme a une oeuvre philosophique deja riche de promesses. On propose ici la premiere traduction francaise de la Correspondance que Nicolas d'Autrecourt a entretenue avec le franciscain Bernard d'Arezzon et (...) le maitre es arts Gilles du Foin. Il esquisse la certains des themes importants de son epistemologie, exposant notamment les criteres de la connaissance evidente et developpant une theorie des inferences originale. On trouvera egalement une traduction des theses que Nicolas d'Autrecourt dut abjurer. On pourra ainsi se faire une idee de certaines de ses preoccupations intellectuelles qui n'apparaissent pas dans la correspondance et essayer de comprendre pourquoi la carriere d'un intellectuel prometteur fut ainsi brisee. (shrink)

The chapter outlines Nietzsche's view of decadence, its history and effects. The philosopher held decadence to be any condition, deceptively thought good, which limits what something or someone can be. This concept informs his critical and affirmative projects, acting as a versatile tool to identify and overcome his own decadence and to resist the decadence of Western culture. Decadence appears in five major areas of concern to Nietzsche: physiology; psychology; art and artists; politics; and philosophy. Physical and mental phenomena provide (...) the substrate of his understanding, but they manifest in cultural, political, and philosophical forms that, in turn, affect the body and mind. In each of the five areas, the concept of decadence for Nietzsche serves 1) to unmask valued cultural phenomena as corrupt, 2) to name and analyze degenerate effects, and 3) to spur reflection on how to respond. (shrink)

First collected in Italy in 1985, _Art's Claim to Truth_ is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of (...) Kandinsky, which reaffirm the ontological implications of art. Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, _Art's Claim to Truth_ offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth. (shrink)

Are we paying enough attention? At least since the nineteenth century, critics have alleged a widespread and profound failure of attentiveness—to others, to ourselves, to the world around us, to what is truly worthy of focus. Why is there such great anxiety over attention? What is at stake in understanding attention and the challenges it faces? This book investigates attention from a range of disciplinary perspectives, including philosophy, history, anthropology, art history, and comparative literature. Each chapter begins with a concrete (...) scene whose protagonists are trying—and often failing—to attend. Authors examine key moments in the history of the study of attention; pose attention as a philosophical problem; explore the links between attention, culture, and technology; and consider the significance of attention for conceptualizations of human subjectivity. Readers encounter nineteenth-century experiments in boredom, ornithologists conveying sound through field notations, wearable attention-enhancing prosthetics, students using online learning platforms, and inquiries into attention as a cognitive state and moral virtue. Amid mounting concern about digital mediation of experience, the rise of “surveillance capitalism,” and the commodification of attention, Scenes of Attention deepens the thinking that is needed to protect the freedom of attention and the forms of life that make it possible. (shrink)

Le Consistoire de Rotterdam ayant condamné plusieurs articles lors de la première parution du Dictionnaire historique et critique, les éditions ultérieures contiendront des « Éclaircissements ». Bayle, par sa maîtrise de l’écriture cryptée, va faire de ces textes, officiellement de justification et d’autocensure, un plaidoyer pour la liberté de philosopher.Dans ses premiers textes, comme les Pensées diverses sur la comète, il a pratiqué un art d’écrire d’autant plus efficace qu’il était presque revendiqué comme tel dans des « Avis aux lecteurs (...) ». Il appartient en effet à une génération d’écrivains qui tente de donner à un certain public quelques clefs de lecture permettant, en contournant la censure, de faire perdre à celle-ci une partie de sa nocivité et de sa raison d’être. Cette « pédagogie » se déploie dans les Nouvelles de la République des Lettres, dans son Dictionnaire. Ce sont ces clefs qui peuvent rendre encore le lecteur contemporain apte à déjouer les pièges de ces étranges « Éclaircissements ».The Rotterdam Consistory having sentenced a few articles on the occasion of the first edition of the Critical and Historical Dictionary, the later editions will contain a few explanations. Bayle, through his mastery of crypted writing will turn those texts – supposed to be of justification and self-censorship – into a plea for the freedom to philosophize.In his first texts, for instance in Several Thoughts on the Comet, he exercized an art of writing all the more efficient as it had been almost claimed as such in « Advices to the readers ». Indeed, he belongs to a generation of writers attempting to give some kind of audience a few keys for reading that should enable, by by-passing censorship, to deprive it of part of its noxiousness and raison d’être. Such a paedagogical approach unfolds itself in the News from the Republic of Letters and his Dictionary. Such keys still enable the contemporary reader to thwart the traps of those strange « Explanations ». (shrink)

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us (...) the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits which, in turn, supports the argument for philosophy to be taught in schools. (shrink)

Le Consistoire de Rotterdam ayant condamné plusieurs articles lors de la première parution du Dictionnaire historique et critique, les éditions ultérieures contiendront des « Éclaircissements ». Bayle, par sa maîtrise de l'écriture cryptée, va faire de ces textes, officiellement de justification et d'autocensure, un plaidoyer pour la liberté de philosopher. Dans ses premiers textes, comme les Pensées diverses sur la comète, il a pratiqué un art d'écrire d'autant plus efficace qu'il était presque revendiqué comme tel dans des « Avis aux (...) lecteurs ». Il appartient en effet à une génération d'écrivains qui tente de donner à un certain public quelques clefs de lecture permettant, en contournant la censure, de faire perdre à celle-ci une partie de sa nocivité et de sa raison d'être. Cette « pédagogie » se déploie dans les Nouvelles de la République des Lettres, dans son Dictionnaire. Ce sont ces clefs qui peuvent rendre encore le lecteur contemporain apte à déjouer les pièges de ces étranges « Éclaircissements ». The Rotterdam Consistory having sentenced a few articles on the occasion of the first edition of the Critical and Historical Dictionary, the later editions will contain a few explanations. Bayle, through his mastery of crypted writing will turn those texts - supposed to be of justification and self-censorship -into a plea for the freedom to philosophize. In his first texts, for instance in Several Thoughts on the Comet, he exercized an art of writing all the more efficient as it had been almost claimed as such in « Advices to the readers ». Indeed, he belongs to a generation of writers attempting to give some kind of audience a few keys for reading that should enable, by by-passing censorship, to deprive it of part of its noxiousness and raison d'être. Such a paedagogical approach unfolds itself in the News from the Republic of Letters and his Dictionary. Such keys still enable the contemporary reader to thwart the traps of those strange « Explanations ». (shrink)

In mill the principle of utility does not ascribe rightness or wrongness to anything. It governs not just morality but the whole art of life. It says that happiness is the only thing desirable as an end. But the meaning of this formulation is problematic, Since mill's theory of practical reason conceives this desirability as an end as generating reasons for action for all agents in a way implying impartiality between self and others, Whereas in the ordinary sense it does (...) not. This interpretation is supported by detailed textual analysis. (shrink)

This article explores the meeting of two approaches towards philosophy and education: the philosophy for children approach advocated by Lipman and others, and Schmid’s philosophical concept of Lebenskunst. Schmid explores the concept of the beautiful or good life by asking what is necessary for each individual to be able to develop their own art of living and which aspects of life are significant when shaping a good and beautiful life. One element of Schmid’s theory is the practical application of philosophy (...) through the notions of Bildung, reflection, prudence and practical wisdom, as well as the requirement for each individual to take responsibility for actively shaping their life as an artwork. In this sense, each person is the artist responsible for living their own beautiful life. We argue that there are useful parallels between Schmid’s concept of the art of living and P4C, such as the ideal of a holistic philosophy that is “lived.” The pragmatic approach of P4C focuses on the embodied learner who practices critical, caring and creative thinking. Both P4C and Schmid’s theory are reminiscent of the Aristotelian notion of practical wisdom, which allows for an approach to an education for life that prepares students to develop their own art of living. (shrink)

As a recent distinguished editor of British Journal of Aesthetics and a major contributor in his own right to recent debates on aesthetics and the philosophy of art – not least in the particular field with which this particular volume is concerned – Peter Lamarque is particularly well placed to author this survey of past and contemporary work on the philosophy of literature. Moreover, as those already familiar with Professor Lamarque's work will no doubt expect, this volume offers remarkably clear (...) and extensive coverage of a wide and complex philosophical field in its relatively short space of under 300 pages.Following a short preface, the work is divided into seven chapters. The first, entitled ‘Art’, generally explores the relationship between philosophy, literary theory, art …. (shrink)

I should like to add one new motif to our discussion. But to do so I must begin with an old question, exceedingly simple-minded for so learned an audience: "Why art?" However, in accordance with the limited task I set myself, it is best to frame it in less general form:"Why has art been needed by humanity as a biological species?".

First collected in Italy in 1985, _Art's Claim to Truth_ is considered by many philosophers to be one of Gianni Vattimo's most important works. Newly revised for English readers, the book begins with a challenge to Plato, Aristotle, Kant, and Hegel, who viewed art as a metaphysical aspect of reality rather than a futuristic anticipation of it. Following Martin Heidegger's interpretation of the history of philosophy, Vattimo outlines the existential ontological conditions of aesthetics, paying particular attention to the works of (...) Kandinsky, which reaffirm the ontological implications of art. Vattimo then builds on Hans-Georg Gadamer's theory of aesthetics and provides an alternative to a rationalistic-positivistic criticism of art. This is the heart of Vattimo's argument, and with it he demonstrates how hermeneutical philosophy reaffirms art's ontological status and makes clear the importance of hermeneutics for aesthetic studies. In the book's final section, Vattimo articulates the consequences of reclaiming the ontological status of aesthetics without its metaphysical implications, holding Aristotle's concept of beauty responsible for the dissolution of metaphysics itself. In its direct engagement with the works of Gadamer, Heidegger, and Luigi Pareyson, _Art's Claim to Truth_ offers a better understanding of the work of Vattimo and a deeper knowledge of ontology, hermeneutics, and the philosophical examination of truth. (shrink)

According to What Is Philosophy?, all disciplines combat opinion, but art fights most effectively because art and opinion both pertain to sensibility. Yet, this common provenance also makes the line dividing art and opinion porous. The stakes of this porosity are perhaps most visible in the relation of art to life. Although art must avoid two forms of death, ‘chaos’ and ‘opinion’, Deleuze and Guattari don't treat chaos and opinion equally. The fundamental distinction between good death and bad death, between (...) death by chaos and death by opinion, has a number of problematic consequences. Perhaps the most consequential: opinion is deadlier than death itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by:Art and Politics in Roger Scruton’s Conservative Philosophy by Ferenc HÖRCHERD. N. ByrneHÖRCHER, Ferenc. Art and Politics in Roger Scruton’s Conservative Philosophy. Palgrave Macmillan, 2022. vii + 404 pp. Cloth, $129.99The intellectual legacy of Sir Roger Scruton defies the conventional wisdom that conservatism is a mood or sensibility rather than a systematic body of ideas. Then, as Hörcher indicates, Scruton was never a particularly conventional thinker. Against (...) the current that equated intellectualism with political critique, Scruton espoused traditionalism, community ahead of individualism, and order against pluralism. Against the current as well, he took his reflections to the court of public opinion rather than to the halls of academe. (shrink)

Although episodic memory is a widely studied form of memory both in philosophy and psychology, it still raises many burning questions regarding its definition and even its acceptance. Over the last two decades, cross-disciplinary discussions between these two fields have increased as they tackle shared concerns, such as the phenomenology of recollection, and therefore allow for fruitful interaction. This editorial introduction aims to provide a comprehensive and up-to-date presentation of the main existing conceptions and issues on the topic. After delineating (...) Tulving’s chief theoretical import and multifaceted legacy, it goes on to chart the different attempts to capture the episodicity feature of memory according to three categories: a first approach aims to show the cognitive abilities required for a subject to episodically remember; the second defines episodicity as a stage-specific feature; the last explains episodicity in terms of the epistemological properties of episodic memory. This state of the art thereby sets the stage for the contributions of the present volume, which will be introduced in conclusion. (shrink)

This essay is about experience, and not only about ideas. I have been drawn to write about John Cameron Mitchell’s Shortbus for a number of reasons: First, I find his work to be part of a new turn in LGBT art and media that take queer lives as a point of departure, and not only as narrative focus, for their work. These areworks that are not just about being queer, but cross the line into being queer works. Of those who (...) can be said to be a part of this recent turn, I find Mitchell’s work to be both especially philosophical and formally interesting. Not only does his work take up philosophical questions over what it means to be human, and the nature of love and sex, but also his works are produced through an organic, cooperative process that re-frames what it could mean to queer representation, political or otherwise. (shrink)

Edward Slingerland has been working on notions of spontaneity in classical Chinese thought and modern science for many years. In his newest title, Trying Not to Try: The Art and Science of Spontaneity, he approaches this topic by weaving short anecdotes, recent discoveries in cognitive science, and classic Chinese philosophy into an eloquent tapestry that depicts both the everydayness and paradoxical nature of spontaneous action. The text does not read like many other contemporary academic books: it uses colloquial language and (...) does not directly address contemporary philosophical debates. But this does not compromise its ability to stimulate the intellect, or deliver solid philosophical arguments. Slingerland does... (shrink)

Revisionist interpretation of Mill needs to be extended to deal with a residue of puzzles about his moral theory and its connection with his theory of liberty. The upshot shows his reinterpretation of his Benthamite tradition as a form of ‘philosophical utilitarianism’; his definition of the art of morality as collective self-defence; his ignoring of maximization in favour of ad hoc dealing in utilities; the central role of his account of the justice of punishment; the marginal role of the internal (...) sanction in his criterion of moral wrong; his deep respect for common-sense morality; and his restriction of the scope of morality so as to claim for the utilitarian tradition the whole realm of the aesthetics of conduct as part of a general theory of practical reason. (shrink)

Our likes and dislikes--our senses and sensibilities--did not fall ready-made from the sky, argues internationally acclaimed author John D. Barrow. We know we enjoy a beautiful painting or a passionate symphony, but what we don't necessarily understand is that these experiences conjure up latent instincts laid down and perpetuated over millions of years. Now, in The Artful Universe, Barrow explores the close ties between our aesthetic appreciation and the basic nature of the Universe, challenging the commonly held view that our (...) sense of beauty is entirely free and unfettered. Barrow argues that the laws of the Universe, its environments and its astronomical appearance, have imprinted themselves upon our thoughts and actions in subtle and unexpected ways. Why do we like certain types of art or music? What games and puzzles do we find challenging? Why do so many myths and legends have common elements? Who created the cornucopia of constellations in the night sky? And why? In this eclectic and entertaining survey, Barrow answers these questions and more as he explains how the landscape of the Universe has influenced the development of philosophy and mythology, and how millions of years of evolutionary history have fashioned our attraction to certain patterns of sound and color. Barrow casts the story of human creativity and thought in a fascinating light, considering such diverse topics as our instinct for language, the origins and uses of color in Nature, why we divide time into intervals as we do, the sources of our appreciation of landscape painting, and whether computer-generated fractal art is really art. Barrow reconsiders the question of whether intelligent extraterrestrial life exists, showing that the benefits (and even the likelihood) that might follow from the discovery of life on other worlds could be very different from what we might have been led to expect. Remarkably, we find that some of the properties of the Universe that are essential for the existence of any form of life play a key role in determining psychological and religious responses to the Cosmos. Drawing on a wide variety of examples, from the theological questions raised by St. Augustine and C.S. Lewis to the relationship between the pure math of Pythagoras and the music of the Beatles, The Artful Universe covers new ground and enters a wide-ranging debate about the meaning and significance of the links between art and science. It will change our view of the creation of art and the way we see the world in which we live. (shrink)

Bernard Berenson used to refer to Giovanni Morelli as «the founder of the Method». With these words, he meant that Morelli was the scholar who, first, transformed connoisseurship in a science, giving to the discipline a stringent method. Does Morelli’s theory of painting really deserve this praise? To answer this question, this paper examines in the first part the philosophical and scientific background of Morelli’s doctrine, showing how its original debt payed to romantic philosophy went replaced by a neat positivist (...) orientation. In the second part, the Method itself is discussed, asking in which measure it was anticipated by the intuitions of art experts such as Giulio Mancini or Luigi Crespi and discussing the nature and epistemological relevance of the so-called “morellian details”, that is the forms of the nails, of the ears, of the hair’s curls in paintings. Are these details really sufficient for the attribution of a painting to an artist? Which role play the documents in connoisseurship? And, more generally, how important is aesthetic value in the morellian “Method”? (shrink)

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

If the opening sequence of a film is a microscopic 'event' that achieves far more than setting the tone and whetting the appetite for what we are about to see, then Todd Haynes' I'm Not There is exemplary. This paper works its way through the conceptually dense and intricately woven textual layers of the film's opening to stage a three-way dialogue between Haynes, Bob Dylan and Jacques Derrida: three mavericks who defy simple categorisation, by transgressing the boundaries of their respective (...) fields (song writing, cinema and philosophy). By introducing Derrida's deconstructive logic of hauntology as a strategy for reading Haynes' biopic on Dylan, the figure of the ghost is called upon to situate the quest for an identity's authenticity as a perennial, irresolvable problem in song, cinema and philosophy. Belonging to a time that is neither past nor present, a place that is neither here nor there, the ghost offers the perfect medium to join Haynes, Dylan and Derrida in (re)thinking identity in terms that respond to a call (in the name of art, justice and truth, among other things) that is not based on an unyielding conception of authenticity. (shrink)

Concealment -- Part of eloquence is to hide eloquence -- The concealed ornament -- Art or nature? -- In the garden -- Iki -- Those who cannot dissimulate cannot rule either -- True eloquence mocks eloquence -- Ready-mades.

L'oeuvre et le concept! Tels sont bien les deux objets, par excellence, de la philosophie de l'art. L'oeuvre d'art sur laquelle " philosophe " Olivier Revault d'Allonnes n'est pas l'oeuvre achevee, celebree, sacralisee, sanctifiee, mais au contraire l'oeuvre qui, de tout temps, deroute, irrite, scandalise, dejoue le discours apprete et conciliant de l'esthetique traditionnelle. Le concept est l'autre nom de la critique, parole enfin donnee aux oeuvres, passees et presentes, afin qu'elles puissent dire non aux ordres etablis... Leur interpretation (...) se joue donc a l'infini, mais non pas dans l'indetermination, car ce qu'elles expriment, qu'il s'agisse d'un tableau de Rembrandt, d'un quatuor de Beethoven, ou d'une piece pour piano de Schonberg, est chaque fois identique, a savoir l'irreductible et " irrespectueuse " liberte de la creation artistique. Cette esthetique, a l'ecart des dogmatismes, des systemes et des modes, est ici pretexte aux reflexions et aux temoignages qui composent cet ouvrage. (shrink)

The real history of the covey of attention-artists who call themselves "The Birds." A great deal of uncertainty--and even some genuine confusion--surrounds the origin, evolution, and activities of the so-called Avis Tertia or "Order of the Third Bird." Sensational accounts of this "attentional cult" emphasize histrionic rituals, tragic trance-addictions, and the covert dissemination of obscurantist ontologies of the art object. Hieratic, ecstatic, and endlessly evasive, the Order attracts sensual misfits and cabalistic aesthetes--both to its ranks, and to its scholarship. In (...) recent years, however, the revisionist work of the research collective ESTAR(SER) has done much to clear the air, bringing archival precision to the history of this covey of attention-artists who call themselves "The Birds." Gathering the best articles of the last twenty years of The Proceedings of ESTAR(SER), this volume represents a landmark in the history of aesthetic practices, and will be a point of departure for future work wading the muddy marshes at the limits of historicism."--Publisher description. (shrink)

Our love of art, writes John Barrow, is the end product of millions of years of evolution. How we react to a beautiful painting or symphony draws upon instincts laid down long before humans existed. Now, in this enhanced edition of the highly popular The Artful Universe, Barrow further explores the close ties between our aesthetic appreciation and the basic nature of the Universe. Barrow argues that the laws of the Universe have imprinted themselves upon our thoughts and actions in (...) subtle and unexpected ways. Why do we like certain types of art or music? What games and puzzles do we find challenging? Why do so many myths and legends have common elements? In this eclectic and entertaining survey, Barrow answers these questions and more as he explains how the landscape of the Universe has influenced the development of philosophy and mythology, and how millions of years of evolutionary history have fashioned our attraction to certain patterns of sound and color. Barrow casts the story of human creativity and thought in a fascinating light, considering such diverse topics as our instinct for language, the origins and uses of color in nature, why we divide time into intervals as we do, the sources of our appreciation of landscape painting, and whether computer-generated fractal art is really art. Drawing on a wide variety of examples, from the theological questions raised by St. Augustine and C.S. Lewis to the relationship between the pure math of Pythagoras and the music of the Beatles, The Artful Universe Expanded covers new ground and enters a wide-ranging debate about the meaning and significance of the links between art and science. (shrink)

This book proposes a theory of reference--answering the question of whether Jewish, Christian, and Muslim scriptures refer to the same God--within a semantic framework acceptable to atheists and fideists.

It can hardly be denied that play is an important tool for the development and socialisation of children. In this article we argue that, through dramaturgical play in combination with pedagogical tools such as the Community of Inquiry (CoI), in the tradition of Philosophy for Children (P4C), students can creatively think, reflect and be more aware of the impact their gestures (Schmid 2000b) have on others. One of the most fundamental aspects of the embodied human life is human interaction that (...) is based on expressions, what Schmid calls gestures. Through self-reflection, one’s set of gestures can be developed into a deliberate ‘life-performance’; a conscious, selected and coherent work of art (Schmid, 2000b, p. 332). Drawing on Nietzsche’s idea of living artistically, we explore how Schmid’s philosophy of the art of living, P4C and the liberal arts, with a focus on drama education, can work together to develop (self-) reflective, reasonable citizens who are able to develop their own art of living while respecting and supporting the development of the good and beautiful life of others. (shrink)

This book focuses on the mind and its ability to seek answers to unknown or unanswered questions. The theory of educating provides the grounding for using V diagrams by students, educators, researchers, and parents. Teachers make lesson plans using V diagrams and concept maps. They become expert coaches in guiding student performances. Students learn to construct their own knowledge. They change from question-answerers to question-askers. Parents share meaning with their children and their children's teachers and administrators. Administrators monitor programs and (...) are in touch with all participants in schools and universities. Researchers and evaluators can share records of events and facts. With this theory working in the classrooms and laboratories of many practical places of educating plus extending into the world of technology literacy, The Art of Educating with V Diagrams explains how educating works. (shrink)