In this article, I reply to the charge, made in Analysis by Anthony Hatzimoysis, that my criticism of Sartre's Sketch for a Theory of the Emotions is unwarranted. I argued that Sartre offers two lines of reasoning about emotional experience that are in clear conflict with each other. Hatzimoysis counters that we can and should read Sartre's text in a way that avoids attributing inconsistency to Sartre. In response, I argue that Hatzimoysis' suggestion about how one might read the text (...) does not in fact remove the central inconsistency. Pace Hatzimoysis, the inconsistency that I identified remains. (shrink)

The ethical implications for psychological practice of genetic testing are largely unexplored. Predictive testing can have a significant impact on health and well-being, and increasing numbers of individuals with knowledge of their risk for various disorders are likely to present for psychotherapy. In addition, more people will struggle with the decision of whether to obtain information regarding their genetic material. Psychologists will need to have the appropriate knowledge and clinical skills to effectively counsel this population. This article highlights the relevant (...) ethical issues surrounding psychological treatment of individuals pursuing or considering undergoing genetic testing. These issues are extended to psychologists working in research, education, and policy domains. Recommendations for graduate training programs to facilitate current and future practitioner competence are also discussed. (shrink)

1 Background for the Uninitiated RICHMOND CAMPBELL Paradoxes are intrinsically fascinating. They are also distinctively ...

inheritance reasoning in semantic networks allowing for multiple inheritance with exceptions. The approach leads to a definition of iaheritance that is..

Since it was presented in 1963, Chisholm’s paradox has attracted constant attention in the deontic logic literature, but without the emergence of any definitive solution. We claim this is due to its having no single solution. The paradox actually presents many challenges to the formalization of deontic statements, including (1) context sensitivity of unconditional oughts, (2) formalizing conditional oughts, and (3) distinguishing generic from nongeneric oughts. Using the practical interpretation of ‘ought’ as a guideline, we propose a linguistically motivated logical (...) solution to each of these problems, and explain the relation of the solution to the problem of contrary-to-duty obligations. (shrink)

In this paper, I take a critical look at the Davidsonian argument that metaphorical sentences do not express propositions because of the phenomenological experience—seeing one thing as another thing—involved in understanding them as metaphors. According to Davidson, seeing-as is not seeing-that. This verdict is aimed at dislodging metaphor from the position of being assessed with the semantic notions of propositions, meaning, and truth. I will argue that the phenomenological or perceptual experience associated with metaphors does not determine the propositional contentfulness (...) or truth-evaluability of metaphors. Truth-evaluability is not inconsistent but compatible with a perceptual model for metaphors. I argue for this partly by showing that seeing-as does not constitute understanding of metaphors when understanding is appropriately construed in terms of being able to use an expression. (shrink)

Modern epistemology has run into several paradoxes in its efforts to explain how knowledge acquisition can be both socially based and still able to determine objective facts about the world. In this important book, Richmond Campbell attempts to dispel some of these paradoxes, to show how they are ultimately just "illusions of paradox," by developing ideas central to two of the most promising currents in epistemology: feminist epistemology and naturalized epistemology. Campbell's aim is to construct a coherent theory of (...) knowing that is feminist and "naturalized." Illusions of Paradox will be valuable for students and scholars of epistemology and women's studies. (shrink)

Might time be multi‐dimensional? In exploring this question, this paper uses a thought‐experiment about dimensionality, H. G. Wells' ‘The Plattner Story’. Plattner has his left and right sides transposed after a trip through a fourth spatial dimension, a change with independent empirical consequences. This example is then generalised to reversals of the directions of time and entropy. Finally, this thought‐experiment is related to relativistic theories of time and the possibility of preserving causality in a temporally multi‐dimensional framework.

Combining time travel with certain kinds of supertask, this paper proposes a novel model for Hell. Temporally-closed spacetimes allow otherwise impossible opportunities for material kinds of damnation and reveal surprising limitations on metaphysical objections to Hell. Prima facie, eternal damnation requires either infinite amounts of time or time for the damned to speed-up arbitrarily. However, spatiotemporally finite ‘time travel’ universes can host unending personal torment for infinitely many physical beings, while keeping fixed finite limits on rates of temporal passage. Such (...) ‘Hilbert's Inferno’ spacetimes suggest neither materialism nor the finitude of time and space need forbid Hell. A material Hell can be spatiotemporally finite yet eternal for its inhabitants. Hilbert's Inferno also sheds light on Hell's location and accessibility, and shows that some spacetimes are intrinsically better suited to punishment than reward. (shrink)

Alasdair Richmond introduces some famous paradoxes about time travel.

In this paper, I take a critical look at the Davidsonian argument that metaphorical sentences do not express propositions because of the phenomenological experience—seeing one thing as another thing—involved in understanding them as metaphors. According to Davidson, seeing-as is not seeing-that. This verdict is aimed at dislodging metaphor from the position of being assessed with the semantic notions of propositions, meaning, and truth. I will argue that the phenomenological or perceptual experience associated with metaphors does not determine the propositional contentfulness (...) or truth-evaluability of metaphors. Truth-evaluability is not inconsistent but compatible with a perceptual model for metaphors. I argue for this partly by showing that seeing-as does not constitute understanding of metaphors when understanding is appropriately construed in terms of being able to use an expression. (shrink)

In Kitcher’s ‘pragmatic naturalism’ moral evolution consists in pragmatically motivated moral changes in response to practical difficulties in social life. No moral truths or facts exist that could serve as an ‘external’ measure for moral progress. We propose a psychologically realistic conception of moral objectivity consistent with this pragmatic naturalism yet alive to the familiar sense that moral progress has an objective basis that transcends convention and consensus in moral opinion, even when these are products of serious, extended and collaborative (...) reflection. (shrink)

It is more than a half-century since Nelson Goodman [1955] applied what we call the Reflective Equilibrium model of justification to the problem of justifying induction, and more than three decades since Rawls [1971] and Daniels [1979] applied celebrated extensions of this model to the problem of justifying principles of social justice. The resulting Wide Reflective Equilibrium model (WRE) is generally thought to capture an acceptable way to reconcile inconsistency between an intuitively plausible general principle and an intuitively plausible judgment (...) about a particular case. Recently a different model for reconciling moral inconsistency has emerged: Moral Consistency Reasoning [Campbell and Kumar 2012, 2013a; Kumar and Campbell 2012; Campbell 2009: 86?7; Campbell and Woodrow 2003; Wong 2002]. MCR applies when two moral judgments give opposing assessments of (what appear to be) relevantly similar particular cases. Though WRE and MCR are strikingly different, each arguably captures a rationally acceptable method for reconciling moral inconsistency. Moreover, as will be shown, they function in complementary ways. Are they parts of a more comprehensive model of moral reasoning in the face of inconsistency that would explain the attractions of each? This essay first spells out the relevant differences between the models and then formulates a more general model of moral reasoning in the face of inconsistency. ?1 reviews the emergence of Goodman's model that he offers in the spirit of epistemology naturalized, almost a decade before Quine coined the term [1969a]. ?2 analyses six salient features of WRE to be compared with six contrasting features of MCR in ?3. ?4 presents the general model. (shrink)

This article uses Hans Kelsen's theory of a legalsystem to take a fresh look at European Community law,and the relationship between the European Community,its Member States, and international law. It arguesthat the basis of the Community's legal legitimacy isindeterminate, and offers a model to accommodate thatindeterminacy. This model is founded on aconstructivist approach suggested to be particularlyuseful in the EC context. Using this approach, it isargued that the concepts of system, autonomy andsovereignty in the Community can only be understoodthrough the (...) recognition of a plurality of viewpoints,and that it is crucial, in describing the Community,to distinguish between a concept per se and thechoice to adopt that concept. (shrink)

In an issue of Common Knowledge given over to experiments in scholarly form and to the discussion of them, this piece is one of three on the genre of microhistory. The other two argue the merits and demerits of the genre, while this piece seeks to exemplify both its virtues and its risks. To show how microhistory offers intense deliberation on a narrowly defined topic, yet also a kind of hastiness — an impatience with demands for broader scope — Colin (...) Richmond examines one limited facet of the relationship between two Americans resident in England at the turn of the last century: the novelist Henry James and the painter Edwin Austin Abbey. Detailed evidence is mustered to document James's love of fresh hens' eggs and of the undignified lengths he would go to obtain them through the agency of Abbey and his wife. This short piece is written as if a parable, and while its moral goes unstated, the reader's attention is drawn to the unsettled question of whether James exerted maximal effort for minimal results, or whether he knew something about the value of freshness undreamed of by those more patient and dignified in pursuing their desires. (shrink)

Davidson argues that metaphorical sentences express no propositional contents other than the explicit literal contents they express. He offers a causal account, on the one hand, as an explanation of the supposed additional content of a metaphor in terms of the effects metaphors have on hearers, and on the other hand, as a reason for the non-propositional nature of the “something more” that a metaphor is alleged to mean. Davidson’s account is meant to restrict the semantic notions of meaning, content, (...) and truth, to literal sentences. I argue that the Davidsonian causal account does not satisfactorily account for metaphor’s figurativeness, speakers’ assertion and hearers’ uptake of metaphor, and our discursive practices of using metaphors in disagreements and argumentation. I offer a non-compositional analysis of a semantic account of metaphor within which one can make sense of the applicability of the notions of meaning and content to metaphor. This analysis shows that metaphorical sentences have meanings other than, and in addition to, their literal meanings and what speakers can use them to mean. (shrink)

The psychological orientation treats semantics as a matter of idealized computation over symbolic structures, and semantic relations like denotation as relations between linguistic expressions and these structures. I argue that results similar to Gödel's incompleteness theorems and Tarski's theorem on truth create foundational difficulties for this view of semantics.

A familiar position regarding the evolution of ethics is that biology can explain the origin of morals but that in doing so it removes the possibility of their having objective justification. This position is set fourth in detail in the writings of Michael Ruse but it is also taken by many others, notably, Jeffrie Murphy, Andrew Oldenquist, and Allan Gibbard, I argue the contrary view that biology provides a justification of the existence of morals which is objective in the sense (...) of being independent of people's moral views and their particular desires and preferences. Ironically, my argument builds on the very premises which are supposed to undermine the objectivity of morals. But my argument stops short of claiming that biology can give us a basis for justifying some particular system of morals. Drawing on an analogy with social contract theory, I offer a general reason why this more ambitious project cannot be expected to succeed if the argument is pursued along the same lines. Finally, I give reasons why the possibility of objective justification for a particular morality cannot be ruled out in general on evolutionary grounds. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art being (...) a case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

Around 1998, internet postings began appearing under the alias ‘ Timetravel_0 ’. This alias was later replaced by ‘John Titor’, and it's as such I'll designate the posts' author. Remarkably, Titor claimed to have time-travelled from 2036 on a mission to retrieve an IBM 5100 in 1975. Titor refrained from public appearances and any evidence for his story remains web-bound but before closing shop c. March 24 th 2001, he described various future events, e.g.: Y2K is a disaster. Many people (...) die on the highways when they freeze to death trying to get to warmer weather. Cancellation of the Olympics after 2004 due to world conflict. America will soon be engaged in civil war with itself; a civil war that we'll see the beginnings of during 2004 and 2005, escalating until it is indisputable by 2008. This equivocal civil war fizzles until global nuclear war kills three billion people in 2015. (shrink)

Mr. E. Courtney adopts Ellis's defence of repetitque, argues convincingly as a consequence that sed must be replaced by a verb, and claims: ‘That verb can hardly have been any other than stat.’ He continues : ‘This will mean that Charon's boat, having ferried across the young, does not remain tied up at the quay forgetful of the old, but goes back for them.’ The difficulty of que in the sense of sed in the line as reconstituted is defended by (...) a reference to Housman's note on Manilius, 1. 877. Still, the proposed line, non oblita tamen stat, repetitque senes, does not seem to be clear without a pause after stat, so that the reader will construe non with stat but not with repetit. This gives a very awkward rhythm indeed. (shrink)

The spirit of nursing and its healing art: a Jungian perspectiveTimely change is in the air as interest grows in the riches of nursing literature and other creative arts of nursing. Using Jungian and sociological concepts, this article takes a personal look at the literature's contribution to the profession. As the image of contemporary nursing is redefined, the power of the creative is evident, both in its grounding effect on individual practice and its unifying and strengthening potential for a changing (...) profession. (shrink)

Following on from Nick Bostrom's discussion of the Doomsday argument, Alasdair Richmond considers how anthropic reasoning can lead from Doomsday to some odd conclusions about computation and our place in reality.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bill Brandt: A LifeStuart Richmond, Professor of Arts EducationBill Brandt: A Life, by Paul Delany. Stanford California: Stanford University Press, 2004, 335 pp., $47.50 hardcover.From June to September 2003, Britain's famous art gallery, the Tate Modern, housed dramatically in a gigantic, renovated power station on the south bank of the Thames, held its first major photography exhibition, entitled Cruel and Tender after comments made by a critic (...) to describe the work of Walker Evans. The twenty-three artists in the show, including August Sander, Diane Arbus, Rineke Dijkkstra, William Eggleston, Walker Evans, Philip-Lorca diCorcia, and Thomas Ruff, were mainly Americans and Germans. Bill Brandt, who had a reputation as a documentary photographer, was not included. Writing in the catalogue, Tate director Nicholas Serota notes, "Cruel and Tender examines a form of documentary photography that keeps within the limits of the medium, stressing pure description.... Surrealist and Conceptual photography would fit more naturally into the programs and displays at the Tate, but the elusive and documentary qualities in straight photography challenge the traditions of the institution, by concentrating on a form of photography which explores the intrinsic aspects of the medium." In other words, "straight photography" serves as a kind of unemotional, uncreative narrative of ordinary life, avoiding drama, romanticism, sentimentality, deep coding, and, as far as possible, the expressive contributions of the artist. The relationship of photograph to reality, though problematic, is still interesting, according to the catalogue notes, and this contemporary work aims to inform us, literally, of the true essence, banal or otherwise, of our world. This approach acts implicitly to undermine the fake optimism of consumer capitalism.It will be useful to keep in mind this exhibition in considering the work of Brandt, for in the early 1980s Brandt was being lauded as Britain's greatest photographer, and he was nothing if not expressive. It was his métier to find the unusual in the everyday and to create meaning through careful staging and composition, drawing very much on his own personal outlook, aesthetic philosophy, and psychology. He believed all was permitted in photography, whether in the novel choice of lens, use of friends as models, or darkroom processing to achieve his vision. Rather than being a documentary photographer, at least in the purist sense of the Tate collection, he was more the poet ethnographer with a strong sense of the surreal. His was a vision that would be imposed on the world. After reading Paul Delany's excellent biography, it becomes clear why Brandt, all too soon, had become unfashionable in the eyes of the Tate organizers and contemporary photography at large. He is, nevertheless, an artist who can help us question the nature of reality while producing work that is often very complex and beautiful, and someone whose methods and ideas can serve as [End Page 118] a model of individual creative practice. The global interest in photography, the many significant exhibitions and books produced in the past decade, and the prices paid for photographs have by now lain to rest the old debate about whether photography is a genuine art form. As any serious photographer can attest, producing a photograph that has form, presence, and originality is dauntingly difficult, even though photography seems so easy. Everyone, today, has a camera. Yet, constantly fed with glitzy images from commerce and entertainment that direct our minds along certain well-worn grooves—a challenge for aesthetic education—budding artists require a certain strength of character and imagination to resist the literal and obvious and move toward a more authentic way of seeing. Delany's book shows how someone can defy fashion, as Brandt did for half a century, producing "pictorial" images layered with meaning and mystery. As an aside, despite the intent to show images that simply describe the world, some of the Tate pictures still manage, to my eye at least, to have their own ephemeral expressiveness, and at times great beauty, which raises the question, At what point does a document become a work of art? The Tate approach, with its strict theories, seems to be more interested in legislating than in exploring photographic practice.Biographies can... (shrink)

Do contemporary big-budget blockbuster films like Gravity move something in us that is fundamentally the same as what avant-garde and experimental films have done for more than a century? In a powerful challenge to mainstream film theory, Cinema's Bodily Illusions demonstrates that this is the case. Scott C. Richmond bridges genres and periods by focusing, most palpably, on cinema's power to evoke illusions: feeling like you're flying through space, experiencing 3D without glasses, or even hallucinating. He argues that cinema (...) is, first and foremost, a technology to modulate perception. He presents a theory of cinema as a proprioceptive technology: cinema becomes art by modulating viewers' embodied sense of space. It works primarily not at the level of the intellect but at the level of the body. Richmond develops his theory through examples of direct perceptual illusion in cinema: hallucinatory flicker phenomena in Tony Conrad's The Flicker, eerie depth effects in Marcel Duchamp's Anémic Cinéma, the illusion of bodily movement through onscreen space in Stanley Kubrick's 2001, Godfrey Reggio's Koyaanisqatsi, and Alfonso Cuarón's Gravity. In doing so he combines insights from Maurice Merleau-Ponty's phenomenology of perception and James J. Gibson's ecological approach to perception. The result is his distinctive ecological phenomenology, which allows us to refocus on the cinema's perceptual, rather than representational, power. Arguing against modernist habits of mind in film theory and aesthetics, and the attendant proclamations of cinema's death or irrelevance, Richmond demonstrates that cinema's proprioceptive aesthetics make it an urgent site of contemporary inquiry. (shrink)

Henri Bergson's philosophy, which Sartre studied as a student, had a profound but largely neglected influence on his thinking. In this paper I focus on the new light that recognition of this influence throws on Sartre's central argument about the relationship between negation and nothingness in his Being and Nothingness. Sartre's argument is in part a response to Bergson's dismissive, eliminativist account of nothingness in Creative Evolution (1907): the objections to the concept of nothingness with which Sartre engages are precisely (...) those raised by Bergson. Even if Sartre's account of nothingness in its entirety is found to be flawed, I argue that the points he makes specifically against Bergson are powerful. My discussion concludes with a brief examination of the wider philosophical background to Sartre's and Bergson's discussion of nothingness: here I point to some important aspects of Sartre's early philosophy, including some features of his conception of nothingness, that may testify to Bergson's positive influence on his thought. (shrink)

Montague’s framework for semantic interpretation has always been less well adapted to the interpretation of words than of syntactic constructions. In the late 1970s, David Dowty addressed this problem, concentrating on the interpretation of tense, aspect, inchoatives, and causatives in an extension of Montague’s Intensional Logic. In this paper I will try to revive this project, conceiving it as part of a larger task aiming at the interpretation of derivational morphology. I will try to identity some obstacles arising in Dowty’s (...) approach, and will suggest an alternative approach that, while it does not provide a global interpretation of causality, seems to work well with a wide range of the causal constructions that are important in word formation. I try to relate these ideas to some themes in contemporary philosophy and in the formalization of commonsense reasoning. (shrink)

Muriel Wheldale, a distinguished graduate of Newnham College, Cambridge, was a member of William Bateson's school of genetics at Cambridge University from 1903. Her investigation of flower color inheritance in snapdragons (Antirrhinum), a topic of particular interest to botanists, contributed to establishing Mendelism as a powerful new tool in studying heredity. Her understanding of the genetics of pigment formation led her to do cutting-edge work in biochemistry, culminating in the publication of her landmark work, The Anthocyanin Pigments of Plants (1916). (...) In 1915, she joined Frederick Gowland Hopkin's Department of Biochemistry as assistant and in 1926 became one of the first women to be appointed university lecturer. In 1919 she married the biochemist Huia Onslow, with whom she collaborated until his death in 1922. This paper examines Wheldale's work in genetics and especially focuses on the early linkage of Mendelian methdology with new techniques in biochemistry that eventually led to the founding of biochemical genetics. It highlights significant issues in the early history of women in genetics, including the critical role of mentors, funding opportunities, and career strategies. (shrink)

cians concerned with using logical tools in philosophy have been keenly aware of the limitations that arise from the original con centration of symbolic logic on the idiom of mathematics, and many of them have worked to create extensions of the received logical theories that would make them more generally applicable in philosophy. Carnap's Testability and Meaning, published in 1936 and 1937, was a good early example of this sort of research, motivated by the inadequacy of first-order formalizations of dis (...) 'This sugar cube is soluble in water'. positional sentences like And in fact there is a continuous history of work on this topic, extending from Carnap's paper to Shoham's contribution to the present volume.. Much of the work in philosophical logic, and much of what has appeared in The Journal of Philosophical Logic, was mo tivated by similar considerations: work in modal logic, intensional logics, non declaratives, presuppositions, and many other topics. In this sort of research, sin.ce the main point is to devise new formalisms, the technical development tends to be rather shallow in comparison with mathematical logic, though it is sel dom absent: theorems need to be proved in order to justify the formalisms, and sometimes these are nontrivial. On the other hand, much effort has to go into motivating a logical innovation. (shrink)

This paper attempts three tasks in relation to Carter and Leslie's Doomsday Argument. First, it criticises Timothy Chambers' 'Ussherian Corollary', a striking but unsuccessful objection to standard Doomsday arguments. Second, it reformulates the Ussherian Corollary as an objection to Bradley Monton's variant Doomsday and Nick Bostrom's Simulation Argument. Finally, it tries to diagnose the epistemic/metaphysical problems facing Doomsday-related arguments.1.

Note on the text of the principles -- Context -- Biography -- Berkeley's philosophical background -- Overview of themes -- Teading the text -- The principles : introduction -- The principles : part one -- The objects and subject of knowledge : ideas and spirit -- Unperceived existence : a nicer strain of abstraction -- Problems for materialism -- A Cartesian dream argument -- The master argument -- From the inertness of ideas to the existence of God -- Philosophical objections (...) to immaterialism and replies -- Religious objections to immaterialism and replies -- Further advantages of immaterialism -- Great provinces of speculative science -- The attack on absolute space -- Mathematics -- Other minds -- The divine language of nature -- Reception and influence -- Guide to further reading. (shrink)