The correct explanation of why species, in evolutionary theory, are individuals and not classes is the cladistic species concept. The cladistic species concept defines species as the group of organisms between two speciation events, or between one speciation event and one extinction event, or (for living species) that are descended from a speciation event. It is a theoretical concept, and therefore has the virtue of distinguishing clearly the theoretical nature of species from the practical criteria by which species may be (...) recognized at any one time. Ecological or biological (reproductive) criteria may help in the practical recognition of species. Ecological and biological species concepts are also needed to explain why cladistic species exist as distinct lineages, and to explain what exactly takes place during a speciation event. The ecological and biological species concepts work only as sub-theories of the cladistic species concept and if taken by themselves independently of cladism they are liable to blunder. The biological species concept neither provides a better explanation of species indivudualism than the ecological species concept, nor, taken by itself, can the biological species concept even be reconciled with species individualism. Taking the individuality of species seriously requires subordinating the biological, to the cladistic, species concept. (shrink)

This collection explores the impact of Richard Dawkins as scientist, rationalist and one of the most important thinkers alive today. Specially commissioned pieces by leading figures in science, philosophy, literature, and the media, such as Daniel C. Dennett, Matt Ridley, Steven Pinker, Philip Pullman and the Bishop of Oxford, highlight the breadth and range of Dawkins' influence on modern science and culture, from the gene's eye view of evolution to his energetic engagement in public debates on science, rationalism, and (...) religion. The volume includes personal reminiscences and critical debate as well as accessible discussions of science – it provides a stimulating tribute to a remarkable intellectual. (shrink)

When Charles Darwin published his theory in 1859 the biological community gave very different receptions to the idea of evolution and to the theory of natural selection. Evolution was accepted as widely and rapidly as natural selection was rejected. Most biologists were ready to accept that evolution had occurred, but not that natural selection was its cause. They preferred other explanations of evolution, such as theories of big directed variation, or admitted that they did not know its cause. Darwin himself (...) never maintained that natural selection was the sole cause of evolution. He thought of it as one among several causes, and did not specify how much evolution had occurred by the natural selection of fortuitous variations, and how much by other factors such as the inherited effects of use and disuse. However, Darwin did maintain that natural selection was in principle capable of explaining all the observed properties of organisms. He did not think that there were some characteristics that were particularly likely to have evolved by natural selection, and other kinds that were not. Against this, many of this critics thought that there were characteristics that natural selection was particularly powerless to explain. Thus it could not account for characteristics that were detrimental, or those that seemed useless (such as species differences), or those that were of too little importance for natural selection to have favoured them. There were also characteristics of such complexity that it was unimaginable that natural selection could have built them up in tiny stages from fortuitous, undirected variants. The present essay will be concerned with just one, the last mentioned, of these kinds of characteristics. (shrink)

In this astonishingly rich volume, experts in ethics, epistemology, philosophy of mind, political theory, aesthetics, history, critical theory, and hermeneutics bring to light the best philosophical scholarship on what is arguably Nietzsche's most rewarding but most challenging text. Including essays that were commissioned specifically for the volume as well as essays revised and edited by their authors, this collection showcases definitive works that have shaped Nietzsche studies alongside new works of interest to students and experts alike. A lengthy introduction, annotated (...) bibliography, and index make this an extremely useful guide for the classroom and advanced research. (shrink)

I argue, in this thesis, that proper name reference is a wholly pragmatic phenomenon. The reference of a proper name is neither constitutive of, nor determined by, the semantic content of that name, but is determined, on an occasion of use, by pragmatic factors. The majority of views in the literature on proper name reference claim that reference is in some way determined by the semantics of the name, either because their reference simply constitutes their semantics (which generally requires a (...) very fine-grained individuation of names), or because names have an indexical-like semantics that returns a referent given certain specific contextual parameters. I discuss and criticize these views in detail, arguing, essentially, in both cases, that there can be no determinate criteria for reference determination—a claim required by both types of semantic view. I also consider a less common view on proper name reference: that it is determined wholly by speakers’ intentions. I argue that the most plausible version of this view—a strong neo-Gricean position whereby all utterance content is determined by the communicative intentions of the speaker—is implausible in light of psychological data. In the positive part of my thesis, I develop a pragmatic view of proper name reference that is influenced primarily by the work of Charles Travis. I argue that the reference of proper names can only be satisfactorily accounted for by claiming that reference occurs not at the level of word meaning, but at the pragmatic level, on an occasion of utterance. I claim that the contextual mechanisms that determine the reference of a name on an occasion are the same kinds of thing that determine the truth-values of utterances according to Travis. Thus, names are, effectively, occasion sensitive in the way that Travis claims predicates and sentences (amongst other expressions) are. Finally, I discuss how further research might address how my pragmatic view of reference affects traditional issues in the literature on names, and the consequences of the view for the semantics of names. (shrink)

The cladistic species concept proposed by Ridley (1989) rests on an undefined notion of speciation and its meaning is thus indeterminate. If the cladistic concept is made determinate through the definition of speciation, then it reduces to a form of whatever species concept is implicit in the definition of speciation and fails to be a truly alternative species concept. The cladistic formalism advocated by Ridley is designed to ensure that species are monophyletic, that they are objectively real entities, (...) and that they are individuals. It is argued that species need not be monophyletic in order to be real entities, and that ancestor-descendant relations are not the only relations that confer individuality on entities. The species problem is recast in terms of a futile quest for a definition of that single kind of entity to which the term species should uniquely apply. (shrink)

What role did Humanism play in the emergence of English Protestantism? This question has remained a live issue for Reformation scholarship over the past four centuries. In The Ark, the Covenant, and the Poor Men's Chest, the author examines the issue in detail, utilizing categories drawn from the research of John W. O'Malley on the application of different modes of classical rhetoric to biblical interpretation during the Renaissance. Anyone interested in either the revival of classical learning during the Renaissance or (...) the religious upheaval of the English Reformation will benefit from reading this work. The book's focus on primary sources from the sixteenth century and the best insights from recent secondary scholarship yields insights that will be of great interest to specialists in the field of Renaissance and Reformation studies. The inclusion of a timeline of major events, a biographical index of major figures, and a glossary of theological terms make this work accessible and helpful for students with varying degrees of familiarity with early modern England. Comparing the exegetical writings of Erasmus and John Colet, the author illustrates the key differences between Erasmian and Italian Humanism. Erasmus' reliance upon deliberative oratory for the explication of scripture, and his preoccupation with a Platonic philosophia Christi, result in an oracular Christology, focused narrowly on the speech of Jesus. By contrast, Italian Humanism relies upon epideictic rhetoric, and yields a portrait of Christ that highlights the deeds of the Messiah and the paschal dimensions of His salvific work, as seen in the writings of John Colet. These divergent patterns of biblical interpretation are also characteristic of the writings of the two bishops of London during the Reformation, Edmund Bonner, and Nicholas Ridley. Their contrasting approaches to scriptural interpretation suggest that opting for either Italian or Erasmian Humanism may have been decisive, both for Ridley's Protestantism and Bonner's Catholicism. (shrink)

Cyberpunk fiction has been called “the supreme literary expression, if not of postmodernism then of late capitalism itself.” This thesis aims to analyse and question this claim by rethinking cyberpunk Action, postmodernism and late capitalism in terms of three - interlocking - themes: cybernetics, the Gothic and fiction. It claims that while what has been called “postmodernism” has been preoccupied with cybernetic themes, cybernetics has been haunted by the Gothic. The Gothic has always enjoyed a peculiarly intimate relation with the (...) fictional. Baudrillard's theories, meanwhile, suggest that, in a period dominated by simulation, fiction has a new cultural role. By putting “theory” into dialogue with “fiction”, the thesis examines Baudrillard's suggestion that the era of cybernetics “puts an end to science fiction, but also to theory, as specific genres”. The version of the Gothic the thesis presents is one stripped of many of its conventional cultural associations; it is a material Gothic.The machinery for re-thinking the Gothic comes from Deleuze-Guattari’s A Thousand Plateaus. Deriving not from the familiar literary sources but from Wilhelm Worringer’s work on “barbarian art”, Deleuze-Guattari’s version of the Gothic departs from any reference to the supernatural. The crucial theme in Worringer, Deleuze-Guattari establish, is that of nonorganic continuum. Following Deleuze-Guattari’s lead, the thesis analyses key cyberpunk texts such as Ridley Scott’s Blade Runner, David Cronenberg’s Videodrome and William Gibson’s Neuromancer in terms of what it calls this “hypematuralist” theme. While these texts have often been analysed in terms of “postmodernism” and “cyberpunk,” they have rarely been discussed in terms of the Gothic. Here, though, it will be shown that these texts, and important precursors, such as Ballard’s The Atrocity Exhibition, are centrally concerned with the breakdown of the boundary between the animate and the inanimate.. The thesis aims to demonstrate that, in its fixation upon catatonic trance, bodies that do not end at the skin, and agency-without-subjectivity, cyberpunk or “imploded science fiction” converges the Gothic with cybernetics on what, following Gibson, it calls the flatline. The flatline has two important senses, referring to a stale of “unlife” and a condition of radical immanence. The thesis is divided into four chapters, each of which considers the flatline under a different aspect. Chapter 1 concerns the flatlining of cybernetics and postmodernism; Chapter 2 deals with the flatlining of the body, paying particular attention to the Deleuze-Guattari/Artaud concept of the Body without Organs; Chapter 3 focuses upon the flatlining of reproduction, opposing both sexual and mechanical reproduction to Deleuze-Guattari’s idea of propagation; Chapter 4 considers the flatlining of fiction itself in the context of hyperreality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 54-82 [Access article in PDF] Seeing With The Body The Digital Image In Postphotography Mark B. N. Hansen In a well-known scene from the 1982 Ridley Scott film Bladerunner, Rick Deckard scans a photograph into a 3-D rendering machine and directs the machine to explore the space condensed in the two-dimensional photograph as if it were three-dimensional [see fig. 1]. Following Deckard's commands to (...) zoom in and to pan right and left within the image space, the machine unpacks the "real" three-dimensional world represented by the two-dimensional photograph [see figs. 2-3]. After catching a glimpse of his target—a fugitive replicant—reflected from a mirror within the space, Deckard instructs the machine to move around behind the object obstructing the two-dimensional photographic view of the replicant and to frame what it sees [see figs. 4-5]. Responding to the print command issued by Deckard, the machine dispenses a photograph of the replicant which is, quite literally, a close-up of an invisible—indeed nonexistent—part of the two-dimensional original [see fig. 6]. And yet, following the fantasy of this scene, this impossible photograph is—or would be—simply the image of one particular data point within the data set comprising this three-dimensional data space. As fascinating as it is puzzling, this scene of an impossible rendering—a rendering of two-dimensional data as a three-dimensional space—can be related to the crisis brought to photography by digitization in two ways. On the one hand, in line with the film's thematic questioning of photography as a reliable index of memory, this scene foregrounds the technical capacity of digital processing to manipulate photographs. In this way, it thematizes the threat posed by digital technologies to traditional indexical notions of photographic realism. On the other hand, in what has turned out to be a far more prophetic vein, the scene presents a radically new understanding of the photographic image as a three-dimensional "virtual" space. Such an understanding presupposes a vastly different material existence of the photographic image: instead of a physical inscription of light on sensitive paper, the photograph has become a data set that can be rendered in various ways and thus viewed from various perspectives.The first position corresponds to the arguments made by William Mitchell in his now classic book, The Reconfigured Eye. In a comprehensive analysis of the techniques and possibilities of digital imaging, Mitchell concentrates on demarcating the traditional photographic image from its digital doppelgänger. While the specter of manipulation has always haunted the photographic image, it remains the exception rather than the rule: "There is no doubt that extensive reworking of photographic images to produce seamless transformations and combinations is technically difficult, time-consuming, and outside the mainstream of photographic practice. When we look at photographs we presume, unless we have some clear indications to the contrary, that they have not been reworked" [Mitchell 7]. To buttress this claim, Mitchell sketches three criteria for evaluating traditional photographic images: (1) does the image follow the conventions of photography and seem internally coherent? (2) does the visual evidence it presents [End Page 54]Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click for larger viewFigure 1Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="32" />Click for larger viewFigure 2Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click... (shrink)

Let us begin with the simple observation that applied mathematics can be very tough! It is a common occurrence that basic physical principle instructs us to construct some syntactically simple set of differential equations, but it then proves almost impossible to extract salient information from them. As Charles Peirce once remarked, you can’t get a set of such equations to divulge their secrets by simply tilting at them like Don Quixote. As a consequence, applied mathematicians are often forced to pursue (...) roundabout and shakily rationalized expedients if any useful progress is to be made. Often these provisional and quasi-empirical procedures within applied mathematics loom large in motivating the “anti-realist” or “anti-unificationist” conclusions of Nancy Cartwright and allied authors. (shrink)

This is one of those cases to which Dr. 8 oodhouse's remark applies with all its force, that a method which leads to true results must have its logic — H.S Smith (" On Some of the Methods at Present in Use in Pure Geometry," p. 6) A goodly amount of modern metaphysics has concerned itself, in one form or another, with the question: what attitude should we take in regard to a language whose semantic underpinnings seem less than certain? (...) Since much of standard English is surely of this type, many philosophers have felt driven to extreme and unpalatable resolutions — wholesale rejection of attractive logical rules, radical "antirealism", "minimalism" about truth, and so forth, Scientists, however, have long dealt with analogous foundational insecurities and, under the duress of practicality, have framed a set of shifting attitudes towards language and reasoning that seem far more commonsensical than the extreme positions to which pure philosophy has often been led. Following this lead, this essay will recommend a more nuanced approach to linguistic insecurity that is neither naively optimistic nor mired in the gloomy sloughs of antirealism. (shrink)

On the basis of careful textual exegesis and philosophical analysis, and contrary to the received view, Mark R. Wheeler demonstrates that Aristotle presents and systematically explicates his definition of the essence of the truth in the Metaphysics. Aristotle states the nominal definitions of the terms "truth" and "falsehood" as part of his arguments in defense of the logical axioms. These nominal definitions express conceptions of truth and falsehood his philosophical opponents would have recognized and accepted in the context of (...) dialectical argument. On the basis of these nominal definitions, Aristotle develops his definitions of the essences of truth and falsehood--his "real" definitions of truth and falsehood. Aristotle's methodical exposition of his essential definitions of truth and falsehood in the Metaphysics serves as a well-developed example of how his philosophical inquiry starts with nominal definitions and ends with real definitions. Wheeler also argues for the novel claim that Aristotle defines the most fundamental kind of truth in terms of accurate measurement. Aristotle's metrical conception of truth serves as the theoretical basis for specifying the truth conditions of various assertions, for identifying the sorts of beings implicated in these truth conditions, and for explaining the nature of approximate truth and falsehood. Far from offering us a minimal account of truth, Wheeler shows how Aristotle offers us a sophisticated and metrical theory of truth. (shrink)

There is considerable likelihood that Gottlob Frege began writing his Foundations of Arithmetic with the expectation that he could introduce his numbers, not with sets, but through some algebraic techniques borrowed from earlier writers of the Gottingen school. These rewriting techniques, had they worked, would have required strong philosophical justification provided by Frege's celebrated "context principle," which otherwise serves little evident purpose in the published Foundations.

Discussion of the relations between ethics and aesthetics has tended to focus on issues concerning judgement: for example, philosophers have often asked whether, or to what extent, ethical considerations of one sort or another should inform aesthetic verdicts. Much less discussed, however, have been the relations between these two domains in their practical aspects. In this paper, I try to defuse a cluster of reasons for believing that practical competence in the ethical domain and practical competence in the aesthetic domain (...) must be understood as importantly, or structurally, distinct from one another. (shrink)

The ability to engage in reflexive thought—in thought about thought or about other mental states more generally—is regarded as a complex intellectual achievement that is beyond the capacities of most nonhuman animals. To the extent that reflexive thought capacities are believed necessary for the possession of many other psychological states or capacities, including consciousness, belief, emotion, and empathy, the inability of animals to engage in reflexive thought calls into question their other psychological abilities. This chapter attacks the idea that reflexive (...) thought is required in this pervasive way and holds that supposing that it is derives from a tendency among philosophers and scientists toward overcomplication. Against this tendency, it recommends an aponoian framework, from apó, “away from” and noûs, “intelligence” or “thought,” arguing that seemingly complex psychological abilities are often not as complex as they seem, and do not require the ability to engage in reflexive thought. (shrink)

Nietzsche is one of the most important modern philosophers and his writings on the nature of art are amongst the most influential of the nineteenth and twentieth centuries. This_ GuideBook _introduces and assesses: Nietzsche's life and the background to his writings on art the ideas and texts of his works which contribute to art, including _The_ _Birth of Tragedy_, _Human, All Too Human_ and _Thus Spoke Zarathustra_ Nietzsche's continuing importance to philosophy and contemporary thought. This _GuideBook_ will be essential reading (...) for all students coming to Nietzsche for the first time. (shrink)

Philosophers have come to distinguish between ‘right’ and ‘wrong’ kinds of reasons for belief, intention, and other attitudes. Several theories about the nature of this distinction have been offered, by far the most prevalent of which is the idea that it is, at bottom, the distinction between what are known as ‘object-given’ and ‘state-given’ reasons. This paper argues that the object-given/state-given theory vastly overgeneralizes on a small set of data points, and in particular that any adequate account of the distinction (...) between the ‘right’ and ‘wrong’ kinds of reason must allow state-given reasons to be of the right kind. The paper has three main goals, corresponding to its three main parts. In part 1 I set up the problem by introducing the right-kind/wrong-kind distinction, the object-given/state-given distinction, and the object-given/state-given theory, according to which the former distinction simply amounts to the latter. Part 2 presents the main argument of the paper: I argue against the object-given/state-given theory by showing that all of the earmarks of the ‘right’ and ‘wrong’ kinds of reason apply to reasons not to intend and not to believe, but that these cases can’t be captured by the object-given/state-given theory. Finally, in part 3 I use these arguments to motivate and explore a more general hypothesis about the rightkind/wrong-kind distinction, and explore some of the consequences of rejecting the object-given/stategiven theory. (shrink)

Several authors have recently endorsed the thesis that there is what has been called pragmatic encroachment on knowledge—in other words, that two people who are in the same situation with respect to truth-related factors may differ in whether they know something, due to a difference in their practical circumstances. This paper aims not to defend this thesis, but to explore how it could be true. What I aim to do, is to show how practical factors could play a role in (...) defeating knowledge by defeating epistemic rationality—the very kind of rationality that is entailed by knowledge, and in which Pascalian considerations do not play any role—even though epistemic rationality consists in having adequate evidence. (shrink)

There are passages in Nietzsche that can be read as contributions to the free will/determinism debate. When read in that way, they reveal a fairly amateurish metaphysician with little of real substance or novelty to contribute; and if these readings were apt or perspicuous, it seems to me, they would show that Nietzsche's thoughts about freedom were barely worth pausing over. They would simply confirm the impression—amply bolstered from other quarters—that Nietzsche was not at his best when addressing the staple (...) questions of philosophy. But these readings sell Nietzsche short. He had next to no systematic interest in metaphysics, and his concern with the question of freedom was not motivated by metaphysical considerations. Rather—and as with all of Nietzsche's concerns—his motivations were ethical. He was interested, not in the relation of the human will to the causal order of nature, but in the relation between freedom and the good life, between the will and exemplary human living. Read from this perspective, Nietzsche's remarks about freedom actually add up to something. And what they add up to is one aspect of his attempt to understand life after the model of art. Beauty, for Kant, was an image of the moral.1 For Nietzsche, by contrast—and the contrast can be hard to spell out—art was an image of the ethical.2 My hope here is to begin to explain why Nietzsche might have thought that the issue of freedom was relevant to that. In sections 1–3, I attempt to show why Nietzsche is not best read as a participant in the standard free will/determinism debate; in sections 4–6, I try to spell out the ethical conception of freedom that he develops instead. (shrink)

It is time to bring the rich resources of these traditions into the contemporary debate about the nature of self. This volume is the first of its kind.

This paper offers an account of Nietzsche's re-evaluation of values that seeks to satisfy two desiderata, both important if Nietzsche's project is to stand a chance of success. The first is that Nietzsche's re-evaluations must be capable of being understood as authoritative by those whose values are subject to re-evaluation. The second is that Nietzsche's project must not falsify the values being re-evaluated, by, for example, misrepresenting intrinsic values as instrumental values. Given this, five possible forms of re-evaluation are distinguished, (...) and, of these, four are argued both to satisfy the specified desiderata and to feature more or less prominently in Nietzsche's later work. The conclusion of the paper is therefore that Nietzsche's project has at least the right general shape to succeed, and that the reasons for this depend upon acknowledging the importance of the desiderata and of the distinctions to which the paper draws attention. (shrink)

Intentions matter. They have some kind of normative impact on our agency. Something goes wrong when an agent intends some end and fails to carry out the means she believes to be necessary for it, and something goes right when, intending the end, she adopts the means she thinks are required. This has even been claimed to be one of the only uncontroversial truths in ethical theory. But not only is there widespread disagreement about why this is so, there is (...) widespread disagreement about in what sense it is so. In this paper I explore an underdeveloped answer to the question of in what sense it is so, and argue that resolving an apparent difficulty with this view leads to an attractive picture about why it is so. (shrink)

In the 1960s, Peter Geach and John Searle independently posed an important objection to the wide class of 'noncognitivist' metaethical views that had at that time been dominant and widely defended for a quarter of a century. The problems raised by that objection have come to be known in the literature as the Frege-Geach Problem, because of Geach's attribution of the objection to Frege's distinction between content and assertoric force, and the problem has since occupied a great deal of the (...) attention both of defenders of broadly noncognitivist views, and of their critics. In this article I explain Geach and Searle's historical objections, and put the subsequent discussion into dialectical context, paying some attention to the developments along the way and how they have enhanced our overall understanding of the problem. The article covers a lot of territory, so we will only be able to see the highlights, along the way. For further reading, see the Works Cited. (shrink)

This paper is a survey of recent ‘hybrid’ approaches to metaethics, according to which moral sentences, in some sense or other, express both beliefs and desires. I try to show what kinds of theoretical issues come up at the different choice points we encounter in developing such a view, to raise some problems and explain where they come from, and to begin to get a sense for what the payoff of such views can be, and what they will need to (...) do in order to earn that payoff. (shrink)

Allow me to rehearse a familiar scenario. We all know that which ends you have has something to do with what you ought to do. If Ronnie is keen on dancing but Bradley can’t stand it, then the fact that there will be dancing at the party tonight affects what Ronnie and Bradley ought to do in different ways. In short, (HI) you ought, if you have the end, to take the means. But now trouble looms: what if you have (...) dreadful, murderous ends? Ought you to take the means to them? Seemingly not. But fortunately, an assumption made by deontic logics1 comes to the rescue. Since ‘‘ought’’, according to this assumption, is a sentential operator, HI must really be ambiguous. It could be read either as (Narrow) You have the end ! O(you take the means) or as (Wide) O(you have the end ! you take the means). Now if Narrow is true, then you really ought to take the means to your murderous ends. But this doesn’t follow from Wide. All that follows from Wide is that you ought to either take the means to these ends or else give them up. Conclusions: (1) Since HI is on some reading true, but Narrow isn’t, Wide is true. (2) Wide accounts for the relationship between your ends and what you ought to do. This elegant scenario repeats itself in many other domains in which it seems like something can have a bearing on what some particular agent ought to do. Does what you know affect what you ought to do? Do your beliefs about what you ought to do affect what you ought to do? Do your promises affect what you ought to do? Do your beliefs affect what you ought to believe? On each of these counts, the intuitive answer is ‘‘yes’’. And so each of these questions leaves something for the moral philosopher or the epistemologist to investigate. On each count, it seems that what we all know, is that (Account) you ought, if p, to do A. But on each count, the Narrow-scope reading of the ‘‘ought’’ in this claim yields unintuitive consequences. So since Account is true, it must be true on the Wide-scope reading.. (shrink)

There are passages in Nietzsche that can be read as contributions to the free will/determinism debate. When read in that way, they reveal a fairly amateurish metaphysician with little of real substance or novelty to contribute; and if these readings were apt or perspicuous, it seems to me, they would show that Nietzsche's thoughts about freedom were barely worth pausing over. They would simply confirm the impression—amply bolstered from other quarters—that Nietzsche was not at his best when addressing the staple (...) questions of philosophy. But these readings sell Nietzsche short. He had next to no systematic interest in metaphysics, and his concern with the question of freedom was not motivated by metaphysical considerations. Rather—and as with all of Nietzsche's concerns—his motivations were ethical. He was interested, not in the relation of the human will to the causal order of nature, but in the relation between freedom and the good life, between the will and exemplary human living. Read from this perspective, Nietzsche's remarks about freedom actually add up to something. And what they add up to is one aspect of his attempt to understand life after the model of art. Beauty, for Kant, was an image of the moral.1 For Nietzsche, by contrast—and the contrast can be hard to spell out—art was an image of the ethical.2 My hope here is to begin to explain why Nietzsche might have thought that the issue of freedom was relevant to that. In sections 1–3, I attempt to show why Nietzsche is not best read as a participant in the standard free will/determinism debate; in sections 4–6, I try to spell out the ethical conception of freedom that he develops instead. (shrink)

There is a large body of research on conflict in nonhuman animal groups that measures the costs and benefits of intergroup conflict, and we suggest that much of this evidence is missing from De Dreu and Gross's interesting article. It is a shame this work has been missed, because it provides evidence for interesting ideas put forward in the article.

Stereological techniques allow biologists to create quantitative, three-dimensional descriptions of biological structures from two- dimensional images of tissue viewed under the microscope. For example, they can accurately estimate the size of a particular organelle, the total length of a mass of capillaries, or the number of neurons or synapses in a particular region of the brain. This book provides a practical guide to designing and critically evaluating stereological studies of the nervous system and other tissues. It explains the basic concepts (...) behind design-based stereology and how to get started. Also included are detailed descriptions of how to prepare tissue appropriately, perform pilot studies and decide on the appropriate sampling strategy, and account for phenomena such as tissue shrinkage. Numerous examples of applications of stereological methods that are applicable to studies of the central system and a wide variety of other tissues are explained. The book is therefore essential reading for neurobiologists and cell biologists interested in generating accurate representations of cell and tissue architecture. (shrink)