We start with a nearly arbitrary standard classical first order "language" $C\sb{o},$ which is expanded to $C\sb{M,T}$ = "$C\sb{o}+M+T$", where for any variable x, M and T are unary formulas. We start also with a model ${\cal T}\sb{o},$ which together with $C\sb{o}$ represents a fixed non-problematic interpreted first order language. For each $\mu,\tau\subseteq U\sb{o},$ the universe of discourse for ${\cal T}\sb{o},$ the model ${\cal T}\sb{\mu,\tau}$ over $C\sb{M,T}$ is given so that its reduct to $C\sb{o}$ is just ${\cal T}\sb{o},$ and so (...) that for any $C\sb{M,T}$-variable x, the set-extensions of M and T are $\mu$ and $\tau$ respectively. For each $C\sb{M,T}$-expression e, $\vec e$ is its distinctly chosen representative in $U\sb{o},$ and $\lbrack\!\lbrack e\rbrack\!\rbrack$ is a constant $C\sb{o}$-term which names $\vec e.$ ;The goal is to find $\mu\sb*$ and $\tau\sb*,$ such that $\mu\sb*$ and $\tau\sb*$ plausibly and "self-referentially" approximate meaningfulness and truth respectively for any interpreted language represented by ${\cal T}\sb{\mu\sb*,\tau\sb*},$ by satisfying at least the following conditions. ; $\tau\sb*\subseteq\mu\sb*,$ and for each $C\sb{M,T}$-sentence $\sigma$ such that ${\cal T}\sb{\mu\sb*,\tau\sb*}\models M\lbrack\!\lbrack\sigma\rbrack\!\rbrack,$ $$\eqalign{&\ {\cal T}\sb{\mu\sb*,\tau\sb*} \models\sigma\Longleftrightarrow{\cal T}\sb{\mu\sb*,\tau\sb*}\models T\lbrack\!\lbrack\sigma\rbrack\!\rbrack,\ {\rm and}\cr&\ {\cal T}\sb{\mu\sb*,\tau\sb*}\models T\lbrack\!\lbrack\sigma\\leftrightarrow T\lbrack\!\lbrack\sigma\rbrack\!\rbrack\rbrack\!\rbrack.\cr}$$ ; There is a class of expression representatives $\mu\sp{D}\subseteq\mu\sb*$ containing every $C\sb{o}$-expression representative, such that the set $\tau\sp{D}=\mu\sp{D}\ \cap\ \tau\sb*$ itself satisfies the following properties. ;First, for each $\vec\sigma$ such that $\sigma$ is a $C\sb{M,T}$-sentence, if for all $\mu,\tau\subseteq U\sb{o}$ satisfying $\mu\supseteq\mu\sb*$ and $\tau\supseteq\tau\sp{D},$ it is the case that ${\cal T}\sb{\mu,\tau}\models\sigma,$ then $\vec\sigma\in\tau\sp{D}.$ ;Second, whenever $\vec\sigma\in\tau\sp{D},$ then also $\sp{\vec{\enspace}}\ \in\tau\sp{D}.$ ;Third, $\tau\sp{D}$ is "upwardly closed" with respect to the strong-Kleene rules for the truth-value evaluation of Boolean combinations of formulas. For example, for $C\sb{M,T}$-sentences $e\sb1$ and $e\sb2$: $$\eqalign{&\ \vec e\sb1\in\tau\sp{D}\Longleftrightarrow)\sp{\vec{\enspace}}\ \in\tau\sp{D}.\cr&\ {\rm If}\ \vec e\sb1\in\tau\sp{D}\ {\rm or}\ \vec e\sb2\in\tau\sp{D},\ {\rm then\ so\ is}\ \sp{\vec{\enspace}}\ \in\tau\sp{D}.\cr&\ {\rm If}\ \sp{\vec{\enspace}}\ \in\tau\sp{D}\ {\rm and}\ \sp{\vec{\enspace}}\ \in\tau\sp{D},\ {\rm then}\ )\sp{\vec{\enspace}}\ \in\tau\sp{D}.\cr}$$ ; For each $C\sb{M,T}$-expression e not involving T, ${\cal T}\sb{\mu\sb*,\tau\sb*}\models M\lbrack\!\lbrack e\rbrack\!\rbrack$; in particular, for any $C\sb{M,T}$-expression e whatsoever, ${\cal T}\sb{\mu\sb*,\tau\sb*}\models M\lbrack\!\lbrack\\neg M\lbrack\!\lbrack e\rbrack\!\rbrack\rbrack\!\rbrack.$ ; ;In this dissertation, it is shown for the first time that there are in fact $\mu\sb*$ and $\tau\sb*$ which simultaneously satisfy all three conditions , , and , even when the consequent of the Godel fixed point theorem must hold. (shrink)

We show how to construct certain " $[Unrepresented Character]_{M,T}$ -type" interpreted languages, with each such language containing meaningfulness and truth predicates which apply to itself. These languages are comparable in expressive power to the $[Unrepresented Character]_{T}$ -type, truth-theoretic languages first considered by. Kripke, yet each of our $[Unrepresented Character]_{M,T}$ -type languages possesses the additional advantage that, within it, the meaninglessness of any given meaningless expression can itself be meaningfully expressed. One therefore has, for example, the object level truth (and meaningfulness) (...) of the claim that the strengthened Liar is meaningless. (shrink)

Neurosurgery for psychiatric disorders, also sometimes referred to as psychosurgery, is rapidly evolving, with new techniques and indications being investigated actively. Many within the field have suggested that some form of guidelines or regulations are needed to help ensure that a promising field develops safely. Multiple countries have enacted specific laws regulating NPD. This article reviews NPD-specific laws drawn from North and South America, Asia and Europe, in order to identify the typical form and contents of these laws and to (...) set the groundwork for the design of an optimal regulation for the field. Key challenges for this design that are revealed by the review are how to define the scope of the law, what types of regulations are required, and how to approach international harmonization given the potential migration of researchers and patients. (shrink)

We report the identification of a recurrent, 520-kb 16p12.1 microdeletion associated with childhood developmental delay. The microdeletion was detected in 20 of 11,873 cases compared with 2 of 8,540 controls and replicated in a second series of 22 of 9,254 cases compared with 6 of 6,299 controls. Most deletions were inherited, with carrier parents likely to manifest neuropsychiatric phenotypes compared to non-carrier parents. Probands were more likely to carry an additional large copy-number variant when compared to matched controls. The clinical (...) features of individuals with two mutations were distinct from and/or more severe than those of individuals carrying only the co-occurring mutation. Our data support a two-hit model in which the 16p12.1 microdeletion both predisposes to neuropsychiatric phenotypes as a single event and exacerbates neurodevelopmental phenotypes in association with other large deletions or duplications. Analysis of other microdeletions with variable expressivity indicates that this two-hit model might be more generally applicable to neuropsychiatric disease. © 2010 Nature America, Inc. All rights reserved. (shrink)

Brian O'Shaughnessy puts forward a bold and original theory of consciousness, one of the most fascinating but puzzling aspects of human existence. He analyses consciousness into purely psychological constituents, according pre-eminence to its epistemological power; the result is an integrated picture of the conscious mind in its natural physical setting. Consciousness and the World is a rich and exciting book, a major contribution to our understanding of the mind.

There are possible worlds in which time is circular and finite in duration, forming a loop of, say, 12,000 years. There are also possible worlds in which time is linear and infinite in both directions, and in which history is repetitive, consisting of infinitely many 12,000 year epochs, each two of which are exactly alike with respect to all intrinsic, purely qualitative properties. Could one ever have empirical evidence that one inhabits a world of the first kind rather than a (...) world of the second kind? We argue for the affirmative answer, contra Quine (1979), Newton-Smith (1980), and Bergström (2013). Our argument for that conclusion differs from an argument for the same conclusion due to Susan Weir, reported by Richard Sorabji (1988). Weir’s argument is probabilistic and explicitly requires having evidence against determinism. Our argument is a direct appeal to the simplicity of laws, and it involves no probabilistic component. It is modeled on Shoemaker’s (1969) argument that one could have evidence of time without change. (shrink)

1. Overview and organizing themes 2. Historical Review: Aristotle to Mill 3. Logic of method and critical responses 3.1 Logical constructionism and Operationalism 3.2. H-D as a logic of confirmation 3.3. Popper and falsificationism 3.4 Meta-methodology and the end of method 4. Statistical methods for hypothesis testing 5. Method in Practice 5.1 Creative and exploratory practices 5.2 Computer methods and the ‘third way’ of doing science 6. Discourse on scientific method 6.1 “The scientific method” in science education and as seen (...) by scientists 6.2 Privileged methods and ‘gold standards’ 6.3 Scientific method in the court room 6.4 Deviating practices 7. Conclusion Bibliography Academic Tools Other Internet Resources Related Entries . (shrink)

How shall we decide for others who cannot decide for themselves? And who—or what, in the case of artificial intelligence — should make the decision? The present issue of the journal tackles several interrelated topics, many of them having to do with surrogate decision making. For example, the feature article by Jardas et al 1 explores the potential use of artificial intelligence to predict incapacitated patients’ likely treatment preferences based on their sociodemographic characteristics, raising questions about the means by which (...) we come to decide for others. And a clinical ethics round table led by Wilkinson and Pillay2 examines the case of a premature baby on life support whose primary surrogate is herself incapacitated. Together, these examples force us to think more deeply about the meaning and significance of taken-for-granted concepts: respect for autonomy, substituted judgement, best interests. We’ll consider the baby first and then turn to AI. “Baby T” is a critically ill newborn delivered prematurely by emergency caesarean section. The mother had entered into a surrogacy arrangement with a same-sex male couple, the intended parents, who were to take over the baby’s care after birth—just as soon as a formal parental order could be obtained through the court. Until then, the birth mother, who had used her own eggs to conceive Baby T along with sperm from an unidentified donor, would have legal and ethical responsibility to decide about the baby’s care. Unfortunately, she too was in critical condition, having fallen unconscious prior to delivery due to a sudden brain haemorrhage. She remained unconscious, and thus incapacitated, during a crucial period in which time-sensitive decisions about Baby T’s care needed to be made, including whether to continue life support. Given the mother’s incapacity, who should …. (shrink)

"As a result of human activities, many organisms on Earth face serious and worsening threats to their continued existence. This is usually regarded as a matter of concern because maintaining a healthy non-human environment affects the well-being of humans. A Theory of Ecological Justice adopts a very different approach, defending in detail the claim that all organisms, sentient and non-sentient, have a claim in justice to a fair share of the planet's environmental resources." "This book makes a thoroughly developed, ground-breaking (...) case for ecological justice. It is an essential read for everyone interested in environmental politics and ethics."--BOOK JACKET. (shrink)

A central concern of nearly every environmental ethic is its desire to extend the scope of direct moral concern beyond human beings to plants, nonhuman animals, and the systems of which they are a part. Although nearly all environmental philosophies have long since rejected modernity’s conception of individuals as isolated and independent substances, few have replaced this worldview with an alternative that is adequate to the organic, processive world in which we find ourselves. In this context, Brian G. Henning (...) argues that the often overlooked work of Alfred North Whitehead has the potential to make a significant contribution to environmental ethics. Additionally inspired by classical American philosophers such as William James, John Dewey and Charles Sanders Pierce and environmental philosophers such as Aldo Leopold, Peter Singer, Albert Schweitzer, and Arne Naess, Henning develops an ethical theory of which the seminal insight is called “The Ethics of Creativity.” By systematically examining and developing a conception of individuality that is equally at home with the microscopic world of subatomic events and the macroscopic world of ecosystems, _The Ethics of Creativity_ correctly emphasizes the well-being of wholes, while not losing sight of the importance of the unique centers of value that constitute these wholes. In this way, _The Ethics of Creativity_ has the potential to be a unique voice in contemporary moral philosophy. (shrink)

In recent years, much work has been dedicated by logicians, computer scientists and economists to understanding awareness, as its importance for human behaviour becomes evident. Although several logics of awareness have been proposed, little attention has been explicitly dedicated to change in awareness. However, one of the most crucial aspects of awareness is the changes it undergoes, which have countless important consequences for knowledge and action. The aim of this paper is to propose a formal model of awareness change, and (...) to derive from it logics of awareness change. In the first part of the paper, the model of epistemic states of bounded agents proposed in Hill (Stud Log 89(1):81–109, 2008a ) is extended with operations modelling awareness change. In the second part of the paper, it is shown how this model naturally extends the “standard” logic of awareness to yield a logic of awareness change. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Pierluigi Chiassoni’s wonderful book, Interpretation without Truth,1 is an important and welcome addition to the ongoing conversations about interpretation, legal realism, and legal truth. Chiasson...

It is well-known that classical models of belief are not realistic representations of human doxastic capacity; equally, models of actions involving beliefs, such as decisions based on beliefs, or changes of beliefs, suffer from a similar inaccuracies. In this paper, a general framework is presented which permits a more realistic modelling both of instantaneous states of belief, and of the operations involving them. This framework is motivated by some of the inadequacies of existing models, which it overcomes, whilst retaining technical (...) rigour in so far as it relies on known, natural logical and mathematical notions. The companion paper (Towards a “sophisticated” model of belief dynamics. Part II) contains an application of this framework to the particular case of belief revision. (shrink)

The phenomenon of action in which the mind moves the body has puzzled philosophers over the centuries. In this new edition of a classic work of analytical philosophy, Brian O'Shaughnessy investigates bodily action and attempts to resolve some of the main problems. His expanded and updated discussion examines the scope of the will and the conditions in which it makes contact with the body, and investigates the epistemology of the body. He sheds light upon the strangely intimate relation of (...) awareness in which we stand to our own bodies, doing so partly through appeal to the concept of the body-image. The result is a new and strengthened emphasis on the vitally important function of the bodily will as a transparently intelligible bridge between mind and body, and the proposal of a dual aspect theory of the will. (shrink)

In the companion paper (Towards a “sophisticated” model of belief dynamics. Part I), a general framework for realistic modelling of instantaneous states of belief and of the operations involving them was presented and motivated. In this paper, the framework is applied to the case of belief revision. A model of belief revision shall be obtained which, firstly, recovers the Gärdenfors postulates in a well-specified, natural yet simple class of particular circumstances; secondly, can accommodate iterated revisions, recovering several proposed revision operators (...) for iterated revision as special cases; and finally, offers an analysis of Rott’s recent counterexample to several Gärdenfors postulates [32], elucidating in what sense it fails to be one of the special cases to which these postulates apply. (shrink)

In this paper we present a sequent calculus for propositional dynamic logic built using an enriched version of the tree-hypersequent method and including an infinitary rule for the iteration operator. We prove that this sequent calculus is theoremwise equivalent to the corresponding Hilbert-style system, and that it is contraction-free and cut-free. All results are proved in a purely syntactic way.

Darwin's theory of evolution by natural selection is considered in its application to human beings in this book. Brian Baxter examines the various sociobiological approaches to the explanation of human behaviour which view the human brain, and so the human mind, as the product of evolution, and considers the main arguments for and against this claim. In so doing he defends the approaches against some common criticisms, such as the charge that they are reductionist and dehumanising. The implications of (...) these arguments for the social sciences and humanities are assessed, as is the naturalistic view of ethics to which they lead. A key issue examined in the book is the connection between this Darwinist perspective on human beings and modern environmental ethics, which also often assume that human beings are part of an evolved living world. The implications of these positions for the meaningfulness of human life are also examined.Throughout the discussion, the positions in sociobiology and environmental ethics developed by Edward O Wilson are taken as an exemplar of the characteristic features of a Darwinian worldview, and the arguments of Wilson and his chief critics are thoroughly examined. (shrink)

ABSTRACT My aim in this article is twofold. First, I hope to show that, despite its seeming rehabilitation, metaphysics as systematic, speculative philosophy is no less threatened. Second, I will argue that metaphysics as systematic, speculative philosophy is ultimately revisable. That is, metaphysics is not the aim at a closed system of apodictic truths but, rather, an open-ended, fallibilistic pursuit of ever-more-adequate accounts of reality. Specifically, building on the work of Charles Sanders Peirce and Alfred North Whitehead, I will argue (...) that we should conceive of metaphysics not as the quest for absolute certainty but as “working hypothesis.” Thus, the first part will be largely historical and critical, and the second part will be positive and exploratory. (shrink)

What might we learn if the study of ethics focused less on hard cases and more on the practices of everyday life? In Everyday Ethics, Michael Lamb and Brian Williams gathered some of the world's leading scholars and practitioners of moral theology (including some Georgetown University Press authors) to explore that question in dialogue with anthropology and the social sciences. In a field largely begun by Michael Banner, contributors engage with and extend his ideas of ethics as it is (...) practiced in daily life. Crossing disciplinary boundaries, these scholars analyze the ethics of ordinary practices--from eating, learning, and loving the neighbor to borrowing and spending, using technology, and working in a flexible economy. Along the way, they consider the moral and methodological questions that emerge from this interdisciplinary dialogue and assess the implications for the future of moral theology. (shrink)

This collection uses Susan Sontag's "Notes on 'Camp'" as a foundation from which to explore current topics related to camp. It recognizes Sontag's work as significant in spurring examination of the phenomenon but also limited in its descriptive rather than philosophical, theoretical, and conceptual nature.

How are the teachings of a thirteenth-century master relevant today? Twenty contemporary writers unpack Dogen's words and show how we can still find meaning in his teachings. Engaging Dogen's Zen is a practice oriented study of Shushogi (a canonical distillation of Dogen's thought used as a primer in the Soto School of Zen) and Fukanzazengi (Dogen's essential text on the practice of "just sitting," a text recited daily in the Soto School of Zen). It is also a study of the (...) entire self. Here, the principles of Soto Zen practice are unpacked and explained by leading contemporary Buddhists from the living tradition--monks, priests, academics, and community teachers. Tackling Dogen's approach to key issues, such as the preeminence of shikantaza, universal buddha nature, and what it means to be a Mahayana Buddhist, the contributors to the volume help Zen practitioners and any who are trying to deepen their lives to appreciate better the teachings of Soto Zen and make these teachings part of their lives. By revisiting what remains precious in Shushogi and Fukanzazengi, we let them breathe just as we learn to breathe in zazen. We find that Soto practice not only engages Dogen and Sakyamuni, but all of our sisters and brothers, and indeed the great earth itself. Includes essays from Kosho Itagaki, Taigen Dan Leighton, Tenshin Charles Fletcher, Shudo Brian Schroeder, Glen A. Mazis, David Loy, Drew Leder, Steven DeCaroli, Steve Bein, John Maraldo, Michael Schwartz, Tetsuzen Jason M. Wirth, Leah Kalmanson, Erin Jien McCarthy, Dainen David Putney, Steven Heine, Graham Parkes, Mark Unno, Shudo Brian Schroeder, and Kanpu Bret W. Davis. (shrink)

One of the greatest problems facing luxury goods firms in a globalizing market is that of counterfeiting. The purpose of this paper is to analyze the different types of counterfeiting that take place in thefashion industry and the ethical issues raised. We argue that the problem partly lies in the industry itself. Copying of designs is endemic and condoned, which raises several ethical dilemmas in passing judgment on the practice of counterfeiting. We analyze the ethical issues in a number of (...) different types of counterfeiting encountered in the fashion industry. We conclude with some observations on the general implications for ethics in intellectual property rights. (shrink)

My goal in this brief essay is not so much to defend White's controversial thesis, but to use it as a context for appreciating the significance of Pope Francis's new encyclical Laudato Si’. Considering it in the context of White’s thesis, will bring certain salient features into relief.

Relativism is the view that the truth of a sentence is relative both to a context of utterance and to a context of assessment. That the truth of a sentence is relative to a context of utterance is uncontroversial in contemporary semantics. This chapter focuses on three points: whether the version of contextualism is vulnerable to the disagreement and retraction arguments, and if so, whether these problems can be avoided by a more sophisticated contextualist theory. The points include: whether relativism (...) really does avoid the four problems posed for the other theories; and whether there are other theories that also avoid the problems, without running into the problems facing relativism or problems of their own. The chapter concentrates on two families of views that have been called relativist: Relativism about propositional truth; and Relativism about utterance truth. (shrink)

The aim of this essay is twofold. First, I examine the role of Alfred North Whitehead and process thinkers in bringing about and shaping the field of environmental ethics. As we will see, our job is not so much to develop the connections between Whitehead and environmental thought as to recover them. Second, given this genealogical work, I invite process scholars to reconsider their generally hostile reception of Aldo Leopold and his land ethic. I suggest that a version of the (...) land ethic grounded in a process axiology could make a significant contribution to contemporary environmental thought. (shrink)

Justice must both be done and be seen to be done. A legal principle designed to give effect to this fundamental proposition is that a judge must not sit to determine a dispute if he or she is biased, or if there exists a reasonable perception that he or she is biased. Across many common law jurisdictions – including the UK, Australia, Canada, New Zealand and many jurisdictions in the United States – the judge in question himself or herself is (...) required to undertake the assessment of whether bias, or an apprehension of bias, exists. Drawing on insights from behavioural psychology and a series of case studies from across these jurisdictions, this paper offers an extended analysis of this practice and identifies and evaluates alternative proposals. (shrink)

An artistic discussion on the critical potential of African American expressive culture In a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to challenge, Harper contends that abstractionism (...) shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation. Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation. (shrink)

Hendley argues that philosophers of edu­cation should reject their preoccupation of the past 25_ _years with defining terms and analyzing concepts and once again embrace the philosophical task of con­structing general theories of education. Exemplars of that tradition are John Dewey, Bertrand Russell, and Alfred North Whitehead, who formulated theo­ries of education that were tested. Dewey and Russell ran their own schools, and Whitehead served as a university admin­istrator and as a member of many com­mittees created to study education. After (...) providing a general introduction to the present state of educational phi­losophy, Hendley discusses in detail the educational philosophies of Dewey, Rus­sell, and Whitehead. He sees in these men excellent role models that contem­porary philosophers might well follow. Hendley believes that like these men­tors, philosophers should take a more ac­tive, practical role in education. (shrink)

:This article explores some implications of the concept of transformative change for the debate about human enhancement. A transformative change is understood to be one that significantly alters the value an individual places on his or her experiences or achievements. The clearest examples of transformative change come from science fiction, but the concept can be illuminatingly applied to the enhancement debate. We argue that it helps to expose a threat from too much enhancement to many of the things that make (...) human lives valuable. Among the things threated by enhancement are our relationships with other human beings. The potential to lose these relationships provides a compelling reason for almost all humans to reject too much enhancement. (shrink)

As the collective impact of human activity approaches Earth’s biophysical limits, the ethics of food become increasingly important. Hundreds of millions of people remain undernourished, yet only 60 percent of the global harvest is consumed by humans, while 35 percent is fed to livestock and 5 percent is used for biofuels and other industrial products. This essay considers the ethics of such use of edible nutrition for feedstock and biofuel. How humanity uses Earth’s land is a reflection of its values. (...) The current land-use arrangements, which divert 40 percent of all food to feed animals or create fuels, suggest that dietary and transportation preferences of wealthier individuals are considered more important than feeding undernourished people, or the stability of the wider biotic community. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Unpacking the Chalcedonian Formula:From Studied Ambiguity to Saving MysteryBrian E. Daley, S.J.One of the central questions Christian theologians continue to ask themselves, as they confront the mystery of the person of Christ, is, what is the significance for us today of the Council of Chalcedon? For generations of modern scholars, especially those in the West, the dense and rather technical phrases forged at that fifth-century gathering of Christian bishops (...) and appended to a restatement of what we know as the “Nicene creed” represented a major milestone in the Churches’ ongoing clarification of how disciples are to understand the person of Jesus the Savior.In J. N. D. Kelly’s widely used survey, Early Christian Doctrines,1 for instance, Chalcedon’s “settlement” of the twenty-four-year dispute between Nestorius and his Antiochene supporters and Cyril of Alexandria and the Church of Alexandria was the culmination of “the decisive period for Christology”2 in the early Church, an attempt to define an understanding of Christ that could be accepted by all Christians throughout the Empire, but which nevertheless—surprisingly, perhaps—“failed to bring permanent peace.”3 Aloys Grillmeier, in his foundational study of the growth of early Christian understandings of Jesus, speaks of the years up to Chalcedon as [End Page 165] temporally defining “the development of belief in Christ from its beginning to its first climax in a council of the Church.”4 In an influential study of the theology of the seventh-century monk and theologian Maximus the Confessor, Hans Urs von Balthasar emphasizes the centrality of Chalcedon’s formulaic, classically dialectical picture of the person of Christ as central to Maximus’s whole approach to God, the world, and the human spirit. The reason, Balthasar argues, lies in Chalcedon’s ability to affirm both unity and abiding difference in Christ as the dominant pattern of God’s relationship to creation:From the moment that Chalcedon, in its sober and holy wisdom, elevated the adverbs ‘indivisibly’ (ἀδαιρέτως) and ‘unconfusedly’ (ἀσυγχύτως) to a dogmatic formula, the image of a reciprocal indwelling of two distinct poles of being replaced the image of mixture. This mutual ontological presence (περιχώρησις) not only preserves the being particular to each element, to the divine and the human natures, but also brings each of them to its perfection in their very difference, even enhancing that difference. Love, which is the highest level of union, only takes root in the growing independence of the lovers; the union between God and the world reveals, in the very nearness it creates between these two poles of being, the ever-greater difference between created being and the essentially incomparable God.5With a little help from German Romantic philosophy, and perhaps from his Jesuit confrère Erich Przywara, Balthasar here sees in the Chalcedonian picture of Christ not only Maximus’s central inspiration, but the early Church’s final paradigm for conceiving how the transcendent God can be present and crucially active in the world.One might multiply examples. But does this understanding of Chalcedon’s portrait of Christ really represent its intent or its lasting meaning? What led to its articulation? What was, one may ask, the real achievement of this gathering of over 500 Eastern bishops, mainly from the Greek-speaking East, called by the new emperor Marcian and his long-influential spouse, the [End Page 166] Empress Pulcheria, in a port suburb across the Bosporus from Constantinople, in October of 451? On the level of Church politics, at least, it was a step towards restoring a balance, however briefly, between major centers of influence in the Church of the mid-fifth century, and the theological traditions with which they had become associated: a balance precariously achieved in 433, after the bitter controversy over Nestorius’s views on how to conceive the person of Christ, by what is often called the “Formula of Reunion,” which sketched the outlines of traditional faith in the Savior—a formula apparently drafted at that time by Theodoret of Cyrus and proposed by the Church of Antioch, but which was also warmly embraced by Theodoret’s principal rival, Cyril of Alexandria. After heated debates between the bishop of Constantinople, the... (shrink)