American universities rely upon a large workforce of adjunct faculty—contract workers who receive low pay, no benefits, and no job security. Many news sources, magazines, and activists claim that adjuncts are exploited and should receive better pay and treatment. This paper never affirms nor denies that adjuncts are exploited. Instead, we show that any attempt to provide a significantly better deal faces unpleasant constraints and trade-offs. “Adjunct justice” would cost universities somewhere between an additional $15–50 billion per year. At most, (...) universities can provide justice for a minority of adjuncts at the expense of the majority, as well as at the expense of poor students. Universities may indeed be exploiting adjuncts, but they cannot rectify this mistake without significant moral costs. (shrink)

This collection examines the classical liberal perspective within the professional study of history. The contributors investigate the origins and development of the classical liberal approach, argue for its revival within academia, and analyze its relevance to such topics as economics, civil liberties, feminism, and civil rights.

In this book, Phillip Wiebe examines religious, spiritual, and mystical experiences, assessing how these experiences appear to implicate a spiritual order. Despite the current prevalence of naturalism and atheism, he argues that experiences purporting to have a religious or spiritual significance deserve close empirical investigation. Wiebe surveys the broad scope of religious experience and considers different types of evidence that might give rise to a belief in phenomena such as spirits, paranormal events, God, and an afterlife. He demonstrates that (...) there are different explanations and interpretations of religious experiences, both because they are typically personal accounts, and they suggest a reality that is often unobservable. Wiebe also addresses how to evaluate evidence for theories that postulate unobservables in general, and a Theory of Spirits in particular. Calling for more rigorous investigation of these phenomena, Wiebe frames the study of religious experience among other accepted social sciences that seek to understand religion. (shrink)

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently 'almost' art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects 'failed-art' objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is _ipso facto_ false. (shrink)

The ongoing conflict between the economic imperative of stimulating consumption as part of the proliferation of neoliberal ideals of consumer supremacy and growing concern to increase environmental protection presents an opportunity to focus on consumption with respect to ethical behavior. Ethical concerns regarding purchasing and consumption behavior are addressed here in relation to the adoption of principles associated with temperance as applied to self-restraint in food purchase and consumption. The paper outlines theological links to the concept of temperance as applied (...) to environmental and health concerns. Employing a virtue ethics perspective, it examines people’s proactive attitudes that value the environment by adopting waste reduction behaviors. Within the context of normative ethics, it is asked: “Is temperance able to fulfill the role of a lever in consumers’ hands and thereby contribute to minimizing negative environmental impacts associated with food waste?” The research bears witness to the role that consumer behavior may play in promotion and application of temperance in daily life. Study results from a survey conducted in Romania extend the scant information on people’s food waste behavior in relation to religion, underscoring the relationship between religion, temperance-oriented behavior and environmental concerns. (shrink)

God is said to be Spirit, but the language of spirit is ignored in contemporary philosophy of religion. As well as exploring the notion of spirit in Hegel, Romanticism and Kierkegaard, participants explore the view that God is a spirit without a body, and the relations between "spirit" and "truth.".

Business ethics is a topic receiving much attention in the literature. However, the term 'business ethics' is not adequately defined. Typical definitions refer to the rightness or wrongness of behavior, but not everyone agrees on what is morally right or wrong, good or bad, ethical or unethical. To complicate the problem, nearly all available definitions exist at highly abstract levels. This article focuses on contemporary definitions of business ethics by business writers and professionals and on possible areas of agreement among (...) the available definitions. Then a definition is synthesized that is broad enough to cover the field of management in a sense as full as most managers might conceive of it. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

An introduction to special collection on “Environmental Ethics: Issues and Perspectives from Romania”.

Claims that pornography cannot be art typically depend on controversial claims about essential value differences (moral, aesthetic) between pornography and art. In this paper, I offer a value-neutral exclusionary claim, showing pornography to be descriptively at odds with art. I then show how my view is an improvement on similar claims made by Jerrold Levinson. Finally I draw parallels between art and pornography and art and advertising as well as show that my view is consistent with our typical usage of (...) the term “pornographic art.”. (shrink)

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)

The present study seeks to introduce the European Christian community to the debate on environmental degradation while displaying its important role and theological perspectives in the resolution of the environmental crisis. The fundamental question authors have asked here is if Christianity supports pro-environmental attitudes compared to other religions, in a context where religion, in general, represents the ethical foundation of our civilization and, thus, an important behavior guide. The discussion becomes all the more interesting as many voices have identified the (...) Christian theological tradition as ecologically bankrupt, while others as a source for environmental ethics. In seeking to refute or to confirm the Lynne White’s thesis, firstly, we aimed to rediscover the biblical ecological consciousness and the theology of care. Secondly, following the literature evidence on relevant differences between countries and the influence that religion has on approaching environmental issues, we considered the religion-environmental correlation within a particular country context. For this, data from the European Values Study survey were used, by including 20 European countries. One novelty of this contribution is to highlight the influence of the legacy of the former political regime on pro-environmental attitude and religious practices. The study testifies that the search for a common language for environmental stewardship is a difficult task and fundamental to how we behave. Despite this, within this frame of discussion, we argue that Christianity, as a major social actor, co-exists with and can enhance the interest in and respect for nature. (shrink)

I propose a minimal account of authorship that specifies the fundamental nature of the author-relation and its minimal domain composition in terms of a three-place causal-intentional relation holding between agents and sort-relative works. I contrast my account with the minimal account tacitly held by most authorship theories, which is a two-place relation holding between agents and works simpliciter. I claim that only my view can ground productive and informative principled distincitons between collective production and collective authorship.

Two environmental accidents in the mining industry provide the context for this study of the Mitchell, Agle, and Wood (1997, The Academy of Management Review 22, 853–886) analysis of stakeholder salience. I examine the reactions of two stakeholder groups: shareholder response is examined in terms of changing share returns and risk; management response through change in disclosure. I find the two decision-makers reacted at different times. Management responded to the first accident, though not the second. Shareholders responded to the second (...) accident alone. My findings support the Mitchell, Agle, and Wood (MAW) assertion that stakeholder status is impermanent, and determined through the eyes of the decision-maker. (shrink)

Most theories of suspense implicitly or explicitly have as a background assumption what I call suspense realism, i.e., that suspense is itself a genuine, distinct emotion. I claim that for a theory of suspense to entail suspense realism is for that theory to entail a contradiction, and so, we ought instead assume a background of suspense eliminativism, i.e., that there is no such genuine, distinct emotion that is the emotion of suspense. More precisely, I argue that i) any suspense realist (...) (...) theory must resolve the paradox of suspense, ii) if suspense is itself a genuine, distinct emotion, then in order to resolve the paradox of suspense it must be a radically sui generis genuine, distinct emotion, iii) according to any minimally adequate theory of the emotions, there can be no radically sui generis emotion, and so iv) there can be no genuine, distinct emotion that is the emotion of suspense. Quite simply, if a theory of suspense must entail suspense realism, then we ought to be eliminativists about suspense. This I call the Paradox of Suspense Realism, which I take to constitute a productive viability condition for any theory of suspense, i.e., any viable theory of suspense must be mutatis mutandis compatible with suspense eliminativism. (shrink)

The mass movement of people across the globe constitutes a major feature of world politics today. -/- Whatever the cause of the movement - often war, famine, economic hardship, political repression or climate change - the governments of western capitalist states see this 'torrent of people in flight' as a serious threat to their stability and the scale of this migration indicates a need for a radical re-thinking of both political theory and practice, for the sake of political, social and (...) economic justice. -/- This book argues that there is at present a serious gap between the legal and social practices of immigration and naturalisation in liberal democratic states and any theoretical justification for such practices that can be made within the tradition of liberal political philosophy. How can liberal states develop institutions of democratic citizenship and at the same time justifiably exclude 'outsiders' from participating in those institutions? The book examines various responses to this contradiction within the liberal tradition, and finds none of them satisfactory - there are no consistently liberal justifications for immigration control and this has serious implications both for liberal practice and theory. (shrink)

This article claims that there is no in principle aesthetic difference between a live performance and a recording of that performance, and as such, performance individuation ought to be revised to reflect this. We ought to regard performances as types able to be instantiated both by live performances and by recordings of those performances, or we ought to abandon performances qua aesthetic objects.

Motivating philosophical interest in the notion of suspense requires comparatively little appeal to what goes on in our ordinary work-a-day lives. After all, with respect to our everyday engagements with the actual world suspense appears to be largely absent—most of us seem to lead lives relatively suspense-free. The notion of suspense strikes us as interesting largely because of its significance with respect to our engagements with (largely fictional) narratives. So, when I indicate a preference for suspense novels, I indicate a (...) preference not only for reading novels with certain narrative structures or content but for novels that in virtue of their narrative structure or content, when properly engaged, evoke a .. (shrink)

To properly understand behavior, we must obtain both ultimate and proximate explanations. Put briefly, ultimate explanations are concerned with why a behavior exists, and proximate explanations are concerned with how it works. These two types of explanation are complementary and the distinction is critical to evolutionary explanation. We are concerned that they have become conflated in some areas of the evolutionary literature on human behavior. This article brings attention to these issues. We focus on three specific areas: the evolution of (...) cooperation, transmitted culture, and epigenetics. We do this to avoid confusion and wasted effort—dangers that are particularly acute in interdisciplinary research. Throughout this article, we suggest ways in which misunderstanding may be avoided in the future. (shrink)

Composition as identity, as I understand it, is a theory of the composite structure of reality. The theory’s underlying logic is irreducibly plural; its fundamental primitive is a generalized identity relation that takes either plural or singular arguments. Strong versions of the theory that incorporate a generalized version of the indiscernibility of identicals are incompatible with the framework of plural logic, and should be rejected. Weak versions of the theory that are based on the idea that composition is merely analogous (...) to identity are too weak to be interesting, lacking in metaphysical consequence. I defend a moderate version according to which composition is a kind of identity, and argue that the difference is metaphysically substantial, not merely terminological. I then consider whether the notion of generalized identity, though fundamental, can be elucidated in modal terms by reverse engineering Hume’s Dictum. Unfortunately, for realists about possible worlds, such as myself,... (shrink)

I consider the field of aesthetics to be at its most productive and engaging when adopting a broadly philosophically informative approach to its core issues (e.g., shaping and testing putative art theoretic commitments against the relevant standard models employed in philosophy of language, metaphysics, and philosophy of mind) and to be at its most impotent and bewildering when cultivating a philosophically insular character (e.g., selecting interpretative, ontological, or conceptual models solely for fit with pre-fixed art theoretic commitments). For example, when (...) philosophical aesthetics tends toward insularity, we shouldn’t be surprised to find standard art-ontological categories incongruous with those standardly employed in contemporary metaphysics. Of course, when contemporary metaphysics tends to ignore aesthetic and art theoretic concerns, perhaps we likewise shouldn’t be surprised to find the climate of contemporary metaphysics inhospitable for a theory of art. While this may seem to suggest at least a prima facie tension between our basic art theoretic commitments considered from within philosophical aesthetics and our standard ontological commitments considered from without, I think any perceived tension or antagonism largely due to metaphysicians and aestheticians (at least implicitly) assuming there to be but two available methodological positions with respect to the relationship between contemporary metaphysics and philosophical aesthetics (in the relevant overlap areas). I call these two opposing views the Deference View and the Independence View. I argue that either view looks to lead to what I call the Paradox of Standards. (shrink)

Niche construction refers to the activities of organisms that bring about changes in their environments, many of which are evolutionarily and ecologically consequential. Advocates of niche construction theory (NCT) believe that standard evolutionary theory fails to recognize the full importance of niche construction, and consequently propose a novel view of evolution, in which niche construction and its legacy over time (ecological inheritance) are described as evolutionary processes, equivalent in importance to natural selection. Here, we subject NCT to critical evaluation, in (...) the form of a collaboration between one prominent advocate of NCT, and a team of skeptics. We discuss whether niche construction is an evolutionary process, whether NCT obscures or clarifies how natural selection leads to organismal adaptation, and whether niche construction and natural selection are of equivalent explanatory importance. We also consider whether the literature that promotes NCT overstates the significance of niche construction, whether it is internally coherent, and whether it accurately portrays standard evolutionary theory. Our disagreements reflect a wider dispute within evolutionary theory over whether the neo-Darwinian synthesis is in need of reformulation, as well as different usages of some key terms (e.g., evolutionary process). (shrink)

: The transplantation of adult human neural stem cells into prenatal non-humans offers an avenue for studying human neural cell development without direct use of human embryos. However, such experiments raise significant ethical concerns about mixing human and nonhuman materials in ways that could result in the development of human-nonhuman chimeras. This paper examines four arguments against such research, the moral taboo, species integrity, "unnaturalness," and human dignity arguments, and finds the last plausible. It argues that the transfer of human (...) brain or retinal stem cells to nonhuman embryos would not result in the development of human-nonhuman chimeras that denigrate human dignity, provided such stem cells are dissociated. The article provides guidelines that set ethical boundaries for conducting such research that are consonant with the requirements of human dignity. (shrink)

This study describes discourse features of messages posted to an Internet discussion forum about depression based on the analysis of a small corpus of message texts. The message texts were classified into three types: problem messages, advice messages and thanks messages, and salient discourse features of each message type were described and analyzed in terms of discourse function. Features of problem messages included: frequent use of metaphorical language to describe symptoms, use of or type questions to request advice, and a (...) general lack of direct requests for advice. Advice messages were characterized by casual style and exhibited a variety of discourse patterns with the common function of expressing positive regard and solidarity. The occurrence of these patterns can be related to the special interpersonal needs associated with the discourse function of giving advice. Thanks messages were responses to advice messages, and usually included some expression of thanks for advice, but interestingly, thanks message writers never indicated that they had acted upon or would act upon the advice they received. (shrink)

It follows from Humean principles of plenitude, I argue, that island universes are possible: physical reality might have 'absolutely isolated' parts. This makes trouble for Lewis's modal realism; but the realist has a way out. First, accept absolute actuality, which is defensible, I argue, on independent grounds. Second, revise the standard analysis of modality: modal operators are 'plural', not 'individual', quantifiers over possible worlds. This solves the problem of island universes and confers three additional benefits: an 'unqualified' principle of compossibility (...) can be accepted; the possibility of nothing can be accommodated; and the identity of indiscernible worlds can be decisively refuted. (shrink)

Although few philosophers agree about what it is for something to be art, most, if not all, agree on one thing: art must be in some sense intention dependent. Art and Art-Attempts is about what follows from taking intention dependence seriously as a substantive necessary condition for something's being art. Christy Mag Uidhir argues that from the assumption that art must be the product of intentional action, along with basic action-theoretic account of attempts (goal-oriented intention-directed activity), follows a host of (...) sweeping implications for philosophical enquiry into the nature of art and its principal relata such as authorship, art forms, and art ontology: e.g., 1) an informative distinction between art, non-art, and failed-art that any viable theory of art must capture, 2) a far more productive minimal framework for authorship not only capable of systematically addressing issues of collective authorship appropriation, etc. but also one according to which artists just are authors, 3) a coherent and structurally precise account of art forms based upon the relation between artists, artworks, and the sortal properties thereof, and 4) a unified and far less metaphysically suspect ontology of art according to which if there are such things as artworks, then artworks must be concrete things. Ultimately, Mag Uidhir aims neither to propose nor to defend any particular, precise answer to the question "What is art?" Instead, he shows the ways in which taking intention-dependence seriously as a substantive necessary condition for being art can be profoundly revelatory, and perhaps even radically revisionary, as to the scope and limits of what any particular, precise answer to such a question could viably be. -/- **Winner of The American Society for Aesthetics Outstanding Monograph Award 2013**. (shrink)

This volume contains eighteen papers, three with new postscripts, that were written over the past 35 years. Five of the papers have not been previously published. Together they provide a comprehensive account of modal reality—the realm of possible worlds—from a Humean perspective, with excursions into neighboring topics in metaphysics. Part 1 sketches an account of reality as a whole, both the mathematical and the modal, defending a form of plenitudinous realism: every consistent proposition is true of some portion of reality. (...) Part 2 presents and defends a realist theory of concrete possible worlds with an absolute ontological distinction between the actual and the merely possible. Part 3 presents and defends a Humean account of modal plenitude, formulating and endorsing principles of recombination, of plenitude of possible structures, and of plenitude of alien contents. Part 4 applies the Humean account to truthmaking, mereology, spacetime, and quantities. I argue that holding fast to Humean strictures leads to views that differ in radical ways from those put forth by contemporary metaphysicians. (shrink)

For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...) aesthetic. That is, we claim Aesthetic Theory so re-framed suggests that the aesthetic might have a central and substantial explanatory role to play within both traditional philosophical enquiries as well as recent and more empirical enquiries into the psychological and cognitive aspects of art and its practice. Finally, we discuss the directions this new work might take—by tying art theory to investigations of the distinctive sensorimotor capacities of expert artists, their specialized aesthetic conceptual schemata, and the ways these distinctive capacities and schemata contribute to the production of artworks. (shrink)

In this chapter, I survey what I call Lewisian approaches to modality: approaches that analyze modality in terms of concrete possible worlds and their parts. I take the following four theses to be characteristic of Lewisian approaches to modality. (1) There is no primitive modality. (2) There exists a plurality of concrete possible worlds. (3) Actuality is an indexical concept. (4) Modality de re is to be analyzed in terms of counterparts, not transworld identity. After an introductory section in which (...) I motivate analyzing modality in terms of possible worlds, I devote one section to each of these four theses. For each thesis, I take Lewis’s interpretation and defense as my starting point. I then consider and endorse alternative ways of accepting the thesis, some of which disagree substantially with Lewis’s interpretation or defense. There is more than one way to be a Lewisian about modality. (shrink)

Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.

An object being non-art appears only trivially informative. Some non-art objects, however, could be saliently ‘almost’ art, and therefore objects for which being non-art is non-trivially informative. I call these kinds of non-art objects ‘failed-art’ objects—non-art objects aetiologically similar to art-objects, diverging only in virtue of some relevant failure. I take failed-art to be the right sort of thing, to result from the right sort of action, and to have the right sort of history required to be art, but to (...) be non-art by having failure where being art requires success. I assume that for something to be art that thing must be the product of intention-directed action. I then offer an account of attempts that captures the success conditions governing the relationship between intention-directed actions and their products. From this, I claim that to be failed-art is to be the product of a failed art-attempt, i.e., to be non-art as the result of the particular way in which that art-attempt failed. An art-attempt I take to be an attempt with success conditions, that, if satisfied, entail the satisfaction of the conditions for being art—whatever those may be. To be art, then, is to be the product of a successful art-attempt. As such, any art theory incompatible with my account of failed-art is an art theory for which the notions of success and failure do not matter, and therefore an art theory for which being art needn't be substantively intention-dependent. So, any theory of art unable to accommodate my account of failed-art is ipso facto false. (shrink)

Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...) race-mismatching. In this paper, I mainly explore whether a coherent and plausible account can be given of race-matching in terms of purely aesthetic considerations, i.e., an account that absent moral considerations can nevertheless coherently and productively answer the following questions: can race-mismatching itself ever be an aesthetic defect of a film, and if so, under what conditions can race-mismatching be such an aesthetic defect. I claim that once we have in place a precise account of the nature of race-matching, it becomes clear that films for which race-mismatching appears to constitute an aesthetic defect are actually films with which properly engaging requires audiences to satisfy inconsistent epistemic conditions. In such cases, I claim, race mismatching constitutes an aesthetic defect for the film-fiction because—in virtue of the inconsistency underwritten by the race-mismatching—that film-fiction undermines the very uptake it prescribes. I then argue that if what’s defective about race-mismatching aesthetically is predicated on something being defective about race-mismatching epistemically, then if there is nothing in principle defective about race-mismatching epistemically, then so too for mismatching aesthetically (and so too for mismatching morally). From this I conclude that reasons stemming only from race-matching/mismatching itself lack the normative force sufficient to warrant the claim that film-fictions ought not race-mismatch. (shrink)

According to David Lewis, a realist about possible worlds must hold that actuality is relative: the worlds are ontologically all on a par; the actual and the merely possible differ, not absolutely, but in how they relate to us. Call this 'Lewisian realism'. The alternative, 'Leibnizian realism', holds that actuality is an absolute property that marks a distinction in ontological status. Lewis presents two arguments against Leibnizian realism. First, he argues that the Leibnizian realist cannot account for the contingency of (...) actuality. Second, he argues that the Leibnizian realist cannot explain why skepticism about one's own actuality is absurd. In this paper, I mount a defense of Leibnizian realism. (shrink)

Was Plato a Pythagorean? Plato's students and earliest critics thought so, but scholars since the nineteenth century have been more skeptical. With this probing study, Phillip Sidney Horky argues that a specific type of Pythagorean philosophy, called "mathematical" Pythagoreanism, exercised a decisive influence on fundamental aspects of Plato's philosophy. The progenitor of mathematical Pythagoreanism was the infamous Pythagorean heretic and political revolutionary Hippasus of Metapontum, a student of Pythagoras who is credited with experiments in harmonics that led to innovations (...) in mathematics. The innovations of Hippasus and other mathematical Pythagoreans, including Empedocles of Agrigentum, Epicharmus of Syracuse, Philolaus of Croton, and Archytas of Tarentum, presented philosophers like Plato with novel ways to reconcile empirical knowledge with abstract mathematical theories. Plato and Pythagoreanism demonstrates how mathematical Pythagoreanism established many of the fundamental philosophical questions Plato dealt with in his central dialogues, including Cratylus, Phaedo, Republic, Timaeus, and Philebus. In the process, it also illuminates the historical significance of the mathematical Pythagoreans, a group whose influence on the development of philosophical and scientific methods has been obscured since late antiquity. The picture that results is one in which Plato inherits mathematical Pythagorean method only to transform it into a powerful philosophical argument about the essential relationships between the cosmos and the human being. (shrink)

Blurb & Contents Readings from Physics Today With over 300 photographs and illustrations, this volume is a valuable library reference, a useful supplementary text for a wide range of courses, and stimulating leisure reading for physicists and non- physicists alike.

In this paper, I critique two conceptions of mechanisms, namely those put forth by Stuart Glennan (Erkenntnis 44:49–71, 1996; Philosophy of Science 69:S342–S353, 2002) and Machamer et al. (Philosophy of Science 67:1–25, 2000). Glennan’s conception, I argue, cannot account for mechanisms involving negative causation because of its interactionist posture. MDC’s view encounters the same problem due to its reificatory conception of activities—this conception, I argue, entails an onerous commitment to ontological dualism. In the place of Glennan and MDC, I propose (...) a “modified conception” of mechanisms, which (a) obviates the problem of negative causation by reinterpreting MDC’s activities according to a “descriptivist” account, and (b) avoids MDC’s problem by postulating a monistic ontology of entities. Thus, by solving these problems, my modified conception offers a cogent, more adequate alternative to Glennan’s and MDC’s conceptions of mechanisms. (shrink)

This article re-examines the theoretical basis for environmental and heritage interpretation in tourist settings in the light of hermeneutic philosophy. It notes that the pioneering vision of heritage interpretation formulated by Freeman Tilden envisaged a broadly educational, ethically informed and transformative art. By contrast, current cognitive psychological attempts to reduce interpretation to the monological transmission of information, targeting universal but individuated cognitive structures, are found to be wanting. Despite growing signs of diversity, this information processing approach to interpretation remains dominant. (...) The article then presents the alternative paradigm of hermeneutics through the works of Schleiermacher, Dilthey, Heidegger and Gadamer, to provide a broader interpretation of interpretation. This not only captures the essence of Tilden’s definition but construes heritage interpretation as a more inclusive, culturally situated, critically reflexive and dialogical practice. (shrink)

Phillip Cary argues that Augustine invented or created the concept of self as an inner space--as space into which one can enter and in which one can find God. This concept of inwardness, says Cary, has worked its way deeply into the intellectual heritage of the West and many Western individuals have experienced themselves as inner selves. After surveying the idea of inwardness in Augustine's predecessors, Cary offers a re-examination of Augustine's own writings, making the controversial point that in (...) his early writings Augustine appears to hold that the human soul is quite literally divine. Cary goes on to contend that the crucial Book 7 of the Confessions is not a historical report of Augustine's "conversion" experience, but rather an explanation of his intellectual development over time. (shrink)

Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...) our general unfamiliarity with the medium), we must look to find a principle of comic authorship out of which authorship questions can be settled for comics simpliciter. Furthermore, any such principle found must also be capable of grounding a principled distinction between collective production and collective authorship; should this distinction be absent, any proper manner of framing the central descriptive and evaluative questions for comics must likewise be absent. Quite obviously we need a theory of comic authorship. To this end, I suggest how we should proceed and exactly what such a theory should look like. (shrink)