Utterances can convey more information than they explicitly encode, and speakers exploit communicative conventions in order to say more with less. However, the burden this places on perceivers is not well understood. This chapter examines the effect of speaker-specific information on pragmatic inferences using data from an experiment which investigated the time course of the use of pragmatic information in language comprehension. Previous evidence suggests that comprehenders who encounter a referential form, including a modifier that commonly indicates contrastiveness, assume that (...) the referential form is being used contrastively. Thus, they consequently look to the relevant object in the scene very early when processing the referential expression. In this case, people appear to be implicitly following H. P. Grice’s maxim of quantity. This chapter demonstrates that comprehenders stop using contrastive information early in resolving reference when speakers consistently do not use contrastive elements appropriately, consistent with a pragmatic explanation of referential contrast effects. (shrink)

Grice's notion of conversational implicature requires that speaker meaning be calculable on the basis of sentence meaning, and presumptions about the speaker's adherence to cooperative principles of conversation and the ability of the hearer to work out the speaker's meaning. However, the actual real‐time consideration of cooperative principles by both the hearer and speaker runs up against severe temporal constraints during language processing. This article considers the role of language processing research in the shaping of a theory of implicature, and (...) provides an empirical overview of pertinent current work in real‐time language production and comprehension. (shrink)

Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our perceptions, emotions or imaginative thought. Historicism about (...) artworks carries over to at least some aesthetic properties that depend on facts of their broader historical context just as works do. One issue is whether aesthetic properties can be demarcated solely in terms of non-aesthetic properties. If not, explanations of aesthetic properties need to draw on other aesthetic notions such as aesthetic experience, attention, judgement or value. The paper examines several accounts of aesthetic value to show how they extend to aesthetic properties. The paper concludes with an overview of the current metaphysical debate between realists and non-realists about aesthetic properties. (shrink)

An important volume connecting classical studies with feminism, Feminism and Ancient Philosophy provides an even-handed assessment of the ancient philosophers' discussions of women and explains which ancient views can be fruitful for feminist theorizing today. The papers in this anthology range from classical Greek philosophy through the Hellenistic period, with the predominance of essays focusing on topics such as the relation of reason and the emotions, the nature of emotions and desire, and related issues in moral psychology. The volume contains (...) some new, ground-breaking essays on Plato, Aristotle, and the Stoics, as well as previously published pieces by established scholars like Martha Nussbaum and Julia Annas. It promises to be of interest to an interdisciplinary audience including those working in classics, ancient philosophy, and feminist theory. (shrink)

This is an overview of Davidson's theory of anomalous monism. Objections and replies are also detailed.

In this paper, I examine a heretofore ignored critic of Descartes on the heterogeneity problem: Anton Wilhelm Amo. Looking at Amo’s critique of Descartes reveals a very clear case of a thinker who attempts to offer a causal system that is not a solution to the mind-body problem, but rather that transcends it. The focus of my discussion is Amo’s 1734 dissertation: The Apathy [ἀπάθεια] of the Human Mind or The Absence of Sensation and the Faculty of Sense in the (...) Human Mind and their Presence in our Organic and Living Body. Amo’s discussion of the interaction, or lack thereof, of the mind and body hinges on the essential feature he identifies for the human mind—apathy, that is, impassivity. In this work, Amo engages explicitly with Descartes’s writing, which allows us to more precisely see the nature of his agreement and disagreement with the Cartesian metaphysics of mind. I proceed by treating Amo’s five stated criteria for spirit-hood which, in turn, reveal the kinds of causal connections that are possible for embodied spirits on his view. My aim is threefold: To lay out what I take to be Amo’s view of and arguments for the five criteria he takes to be required for a substance to be spirit. To locate Amo’s agreement and disagreement with Descartes. To suggest that Amo’s view on mind-body interaction involves a kind of occasional causation. (shrink)

The idea of nonconceptual contents proposes that there are mental contents at the level of the experiencing person that are individuated independently of ‘anything to do with the mind.’ Such contents are posited to meet a variety of theoretical and explanatory needs concerning concepts and conceptual mental contents which are individuated in terms having to do with the mind. So to examine the idea of nonconceptual content we need to examine whether we really need to posit such content and whether (...) there is a coherent, viable way of doing so. I will examine the idea of nonconceptual contents by considering Christopher Peacocke's attempt, in his Study of Concepts, to posit such contents.Three principal kinds of considerations motivate positing non-conceptual content: epistemological, phenomenological, and explanatory-psychological. A theory of knowledge might posit nonconceptual content in order to show that our experience contains the justificatory base for empirical thought as its own proper part. Non-conceptual content might also be posited in order to account for the finely detailed or determinate phenomenological character of perceptual experience. (shrink)

If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception into account. (...) The principal development that has shaped philosophy of perception in the last thirty years—explaining perceptual experience in terms of contents that represent that such-and-such is the case—is directly relevant to key arguments for the historical nature of art because contents can represent complex kinds and properties. Conceptual realism is especially well-suited for explaining perception of artworks and aesthetic properties because it emphasizes that forms of understanding—in the sense of capacities, abilities and techniques—are involved in perceptual engagement with individual objects and instances of properties. To make this case, the paper examines influential arguments for the historical nature of art and aesthetic properties by Arthur C. Danto and Kendall L. Walton; and examines art-historical discussions by Michael Baxandall, Linda Nochlin and T. J. Clark. The paper argues that the aesthetic properties of an artwork depend on human intentional uses of properties, colours and contours among them, and such uses may themselves be aesthetic. The Wittgensteinian notion of use is contextual and historical, and uses are perceptible. (shrink)

This article discusses what is involved in having full moral status, as opposed to a lesser degree of moral status and surveys different views of the grounds of moral status as well as the arguments for attributing a particular degree of moral status on the basis of those grounds.

This paper argues that perception is a mode of engagement with individuals and their determinate properties. Perceptual content involves determinate properties in a way that relies on our conceptual capacities no less than on the properties. The “richness” of perceptual experience is explained as a distinctive individual and property involving content. This position is developed in three steps: (i) novel phenomenological description of lived experience; (ii) detailed reconstruction of Gareth Evans’ proposal that we are capable of genuinely singular thought that (...) involves individuals under modes of presentation; (iii) re-consideration of the re-identification condition on conceptual contents. (shrink)

This article argues that conceptual realism offers an important alternative to naïve realist, purely relational approaches with which ‘disjunctivism’ has come to be readily associated. I argue that John McDowell’s account of perception as both contentful and relational tends to go unnoted when the options for disjunctive theories are laid out. But McDowell’s approach is important because it comes up the middle between ‘intentional’ and ‘relational’ views of perception. In doing so, it offers theoretical resources for explaining perceptual experience and (...) its epistemic standing that purely relational views associated with naïve realism do not have. McDowell’s work opens a unified approach to perception and its epistemic potential that turns on the claim that it is contents and the broader context of capacities in which such contents figure that secure the perceiver’s relation to what she sees. I call views of this kind conceptual realism, though commonsense realism might be more apt. Following comparison of the explanations that conceptual and naïve realism can provide of various difficult scenarios, the paper concludes with an example of how conceptual realist theories might disagree or diverge from the detail of McDowell’s approach. My criticism draws on aesthetics to discuss experience of aesthetic properties. (shrink)

This paper explores a new understanding of mind or mental representation by arguing that contents at the personal level are not carried by vehicles. Contentful mental states at the personal level are distinctive by virtue of their vehicle-less nature: the subpersonal physiological or functional states that are associated with and enable personal level contents cannot be understood as their vehicles, neither can the sensations or the sensory conditions associated with perceptual contents. This result is obtained by first extending the interpretationist (...) ideas of Donald Davidson and Daniel Dennett to show that subpersonal physiological or functional states cannot be construed as the vehicles of personal level contents. Then the anti-foundationalist arguments of Wilfrid Sellars are extended to show that sensory states cannot stand as vehicles to perceptual contents. The line of argumentation extended from Sellars also provides a critique of the current trend to posit non-conceptual contents. (shrink)

Beauty and the End of Art shows how a resurgence of interest in beauty and a sense of ending in Western art are challenging us to rethink art, beauty and their relationship. By arguing that Wittgenstein's later work and contemporary theory of perception offer just what we need for a unified approach to art and beauty, Sonia Sedivy provides new answers to these contemporary challenges. These new accounts also provide support for the Wittgensteinian realism and theory of perception that (...) make them possible. -/- Wittgenstein's subtle form of realism explains artworks in terms of norm governed practices that have their own varied constitutive norms and values. Wittgensteinian realism also suggests that diverse beauties become available and compelling in different cultural eras and bring a shared 'higher-order' value into view. With this framework in place, Sedivy argues that perception is a form of engagement with the world that draws on our conceptual capacities. This approach explains how perceptual experience and the perceptible presence of the world are of value, helping to account for the diversity of beauties that are available in different historical contexts and why the many faces of beauty allow us to experience the value of the world's perceptible presence. -/- Carefully examining contemporary debates about art, aesthetics and perception, Beauty and the End of Art presents an original approach. Insights from such diverse thinkers as Immanuel Kant, Hans-Georg Gadamer and Arthur Danto, Alexander Nehamas, Elaine Scarry and Dave Hickey are woven together to reveal how they make good sense if we bring contemporary theory of perception and Wittgensteinian realism into the conversation. (shrink)

This article offers a detailed textual reexamination of the ‘family resemblance’ passages to reconsider their implications for understanding art. The reassessment takes into account their broader context in the Philosophical Investigations, including the rule following considerations, and draws on a realist interpretive framework associated principally with the work of Cavell, Diamond, McDowell, and Putnam. Wittgensteinian “realism with a human face” helps us discern that the primary issue is not whether certain concepts are definable, posing a stark opposition between essentialism and (...) its denial about kinds such as language or games. What is at issue is keeping uses of language in view in their variety and their broader life contexts. Focus on rules suggests more broadly that norms and values inhere in practices and play a constitutive role in determining the entities integral to those practices. From this perspective, a Wittgensteinian framework explains art as locally overlapping practices, each with their own constitutive norms and values for the works integral to them. What makes something art has normative force specific to a practice. This recognizes the historically contingent nature of art practices in a way that relational definitions or disjunctive ‘cluster’ explanations do not. (shrink)

In this article I argue that there are metaphoric pictures and that pictures have propositional content; but, I also argue, it does not follow that metaphoric pictures are to be explained in terms of metaphoric content. I develop a "comparison" or "predication" approach that stresses that metaphoric pictures depend on their use in contexts that invoke relevant background knowledge. Our competence with metaphoric pictures is a nonsystematic, nonspecifiable competence because it consists in our ability to harness any variety of relevant (...) background knowledge on the basis of contextual factors. It follows that insofar as our competence is not systematic, it is not possible to have a theory of metaphoric pictures, in the sense of a systematic specification of the types of factors or principles that allow one to grasp that a picture is metaphoric and what the metaphor is. (shrink)

We propose the Selfish Goal model, which holds that a person's behavior is driven by psychological processes called goals that guide his or her behavior, at times in contradictory directions. Goals can operate both consciously and unconsciously, and when activated they can trigger downstream effects on a person's information processing and behavioral possibilities that promote only the attainment of goal end-states (and not necessarily the overall interests of the individual). Hence, goals influence a person as if the goals themselves were (...) selfish and interested only in their own completion. We argue that there is an evolutionary basis to believe that conscious goals evolved from unconscious and selfish forms of pursuit. This theoretical framework predicts the existence of unconscious goal processes capable of guiding behavior in the absence of conscious awareness and control (theautomaticity principle), the ability of the most motivating or active goal to constrain a person's information processing and behavior toward successful completion of that goal (thereconfiguration principle), structural similarities between conscious and unconscious goal pursuit (thesimilarity principle), and goal influences that produce apparent inconsistencies or counterintuitive behaviors in a person's behavior extended over time (theinconsistency principle). Thus, we argue that a person's behaviors are indirectly selected at the goal level but expressed (and comprehended) at the individual level. (shrink)

Robert Hopkins’s Picture, Image and Experience aims to provide an account of pictorial representation that vindicates the intuitions of the many, namely that pictorial representation is a deeply visual phenomenon, that an explanation of pictorial representation needs to be based on an explanation of our experience of pictures, and that there must be some sense in the idea that pictures resemble their objects. Hopkins proposes that we can show what is correct in these intuitions by explaining pictures as representations that (...) depend on a distinctive sort of perceptual experience: experienced resemblance in outline shape between a picture and its object. Experienced resemblance in outline shape is the experience of sameness of the solid angle subtended by the contours on the pictorial surface and the solid angle subtended by the actual depicted objects. Pictures don’t resemble their objects but they are experienced as such and it is sameness of outline shape or sameness of subtended solid angles that secures this experience. (shrink)

This paper aims to show how some of Wittgenstein's considerations in the Philosophical Investigations speak to the neo-empiricist tendency to give sensation a purely causal, non-epistemic role. As the foil for Wittgenstein's criticisms, I outline the way Wilfred Sellars rehabilitates sensory impressions from his own diagnosis of the Myth of the Given by construing them as purely causal episodes. Sellars' work shows how it is possible to have a keen appreciation of the incoherence of the empiricist model yet to believe (...) that we ought to maintain that model by modifying our account of the role that sensations play in perception. Sellars and Wittgenstein have the same understanding of what a non-epistemic conception of sensations must involve. Wittgenstein articulates the way this conception manifests itself in ordinary thinking while Sellars gives it a sophisticated theoretical elaboration designed to retain what is key for sensory episodes while avoiding traditional problems of givenness. The instructive difference between Sellars and Wittgenstein is that while Sellars believes we can develop a coherent non-epistemic conception, Wittgenstein’s work suggests that we cannot. (shrink)

In a recent article in this journal, Brian Alters argued that, given the many ways in which the nature of science is described and poor student responses to NOS instruments such as Nature of Scientific Knowledge Scale, Nature of Science Scale, Test on Understanding Science, and others, it is time for science educators to reconsider the standard lists of tenets for the NOS. Alters suggested that philosophers of science are authorities on the NOS and that consequently, it would be wise (...) to investigate their views of current NOS tenets. To that end, he conducted a survey of members of the Philosophy of Science Association, and, via various statistical techniques, made claims about the nature and extent of variation among philosophers of science regarding basic beliefs about the NOS. As three philosophers of science, we laud Alters’ attempt to understand philosophers of science’ view on the NOS. We believe, however, that his techniques for investigating this question are inappropriate and that consequently, several of his conclusions are unwarranted. In this comment, we will substantiate these criticisms. In addition, we will address some of the important questions that motivate Alters’ research and attempt to unravel the “byzantine complexity” of philosophical views about the NOS. We begin with our concerns regarding Alters’ research. We then provide a taxonomy of philosophic issues; and finally, we suggest some roles for philosophy of science in science teaching and the education of science teachers. (shrink)

This paper examines the relationship between beauty and aesthetic properties to argue that aesthetic properties are connected to a work’s content, to what a work conveys or expresses. I turn to Kant’s Critique of Judgement to make the case. My argument highlights two parts of Kant’s approach. Kant argues that pure aesthetic judgements of beauty are grounded in a harmonious yet free play of the imagination and understanding. Such free play is pleasurable and intimates that the power or capacity of (...) imagination is suitable for and can be brought within the conditions of the capacity for conceptual understanding. Within this broader frame, Kant’s account of artistic beauty specifies the relationship of aesthetic properties to the beauty of a work: aesthetic attributes help convey the aesthetic ideas that beautiful works express. I examine how Kant’s view helps us appreciate that aesthetic properties of artworks are integral to conveying the content of a work, and that the pleasure we feel has the potential to make us aware of the experience, its nature and value. (shrink)

This chapter reconstructs the neo‐Wittgensteinian proposals, and re‐examines the “family resemblances” passages from the Philosophical Investigations. Arthur Danto chooses to explain the historically contextual nature of art in some of the same terms as Wittgenstein sketches for language. The neo‐Wittgenstein view is typically reconstructed as a conjunction of two claims about the concept of art: the concept is not definable and it needs to be understood along the lines of Wittgenstein's discussion of “family resemblances.” The concept of art evolves historically (...) with different uses and conditions of application in different historical contexts. Wittgenstein briefly invokes resemblances among family members to characterize such networks of overlapping similarities and immediately proceeds to apply the idea to numbers. Danto's considered view is that the diversity of art is a matter of the historicity of both meaning and embodiment. (shrink)

The National Institutes of Health and other federal health agencies are considering establishing a national biobank to study the roles of genes and environment in human health. A preliminary public engagement study was conducted to assess public attitudes and concerns about the proposed biobank, including the expectations for return of individual research results. A total of 141 adults of different ages, incomes, genders, ethnicities, and races participated in 16 focus groups in six locations across the country. Focus group participants voiced (...) a strong desire to be able to access individual research results. Recognizing the wide range of possible research results from a large cohort study, they repeatedly and spontaneously suggested that cohort study participants be given ongoing choices as to which results they received. (shrink)

When we consider early modern philosophers who engage with sceptical arguments, Nicolas Malebranche is not usually among the first names to come to mind. But, while Malebranche does not spend much time with this topic, the way in which he responds to it when he does is nevertheless valuable. This is because his response underlines the central role of a particular principle in his system: the utter dependence of all created things on God. In this paper, I argue that the (...) end of Malebranche’s engagement with scepticism in general is to show that it is a position, like atheism, that is only possible if one has a disordered imagination. And, importantly, one feature of a disordered imagination is the questioning or denial of what Malebranche takes to be a foundational principle of human knowledge: that we, and all other finite things, utterly depend on God for everything. (shrink)

This paper offers a critical reconstruction of Thomas Nagel’s principal arguments in metaphysics, epistemology, philosophy of mind, ethics and political philosophy.

John Carvalho’s Thinking with Images, an Enactivist Aesthetics argues that puzzling artworks can draw us into a special activity – thinking when we don’t know what to think – which is valuable because it takes us beyond our skills and understanding. Enactivism is the theory of mind that best explains such thinking. The book illustrates this proposal with four chapters that detail Carvalho’s highly personal or individual encounters with enigmatic works of art. I raise two concerns. First, the four illustrative (...) chapters say that they are enactivist, but they do not show this. The illustrative chapters detail considerations about the works that are not distinguished by a particular theory of mind and might fit with any number of approaches to works of art. The suggestion that the thinking presented in each chapter is skillful is not explained. Second, the book does not just focus on thinking when we don’t know what to think, it also claims that such thinking frees us from mere looking. But enactivism does not require us to deny that our engagement with particular works in their ‘concrete singularity,’ to use Carvalho’s term, is perceptual. If perception is richly integrated or even continuous with what we understand skillfully or cognitively – and enacted in one’s circumstances – this does not erase differences between perception and thought or between their functions. When we ‘think with’ an individual so that we are engaged with it in its concrete singularity, perception is involved either in the present or the past. There is no need to shunt perception or looking aside as life activities that are just rule-bound, just part of knowing what to think rather than part of our response when we don’t know what to think. (shrink)

Kendall Walton explains pictures in terms of games of perceptual make-believe. Pictures or depictions are props that draw us to participate in games of make-believe where we imagine seeing what a picture depicts. Walton proposes that one imagines of one’s perceptual experience of the coloured canvas that it is a different perceptual experience. The issue is whether perception and imagination can combine the way Walton suggests. Can one imagine a perception to be different? To get a clearer understanding of the (...) unified perceptual-imaginative experience Walton posits, the paper turns to competing theories that explain perceptual experience in terms of contents, relations to objects, or both contents and relations. Walton appeals to theories of perceptual content and cognitive penetration. But it is also important to examine whether his view fits with recent theories that explain perception only in terms of relations or in terms of both contents and relations. The paper argues that Walton’s view is compatible with content theories of perception and can be defended from some objection once we look at the detail these theories offer. Walton’s view is not compatible with pure relational theories of perception but it can be explained by hybrid content-relational theories of perception that posit de re senses. (shrink)

This paper proposes that pictures are functional objects which figure in norm‐governed practices of usage yet whose specific function is to present the world as it looks to acculturated perceivers. Pictorial content presents the way the world looks to a subject's acculturated perceptual grasp. Hence, pictorial content needs to be explained in terms of a theory of perceptual content, but a novel theory which departs from the two‐stage sensation‐based approach to perception and the polarization between naturalism and conventionalism that it (...) engenders. Following a diagnosis of this polarization, I invoke a novel theory of perception that explains perceptual content as conceptually articulated and determinate in character. I show that (1) pictures present content of the same distinctive determinate type as perceptual content; and that (2) pictures do so by invoking perceptual experience and perceptual processes that are of the same kind as those invoked by actual scenes. This perceptualist approach considers and explains the role of norms as well as of the nature of our visual processes, allowing us to allocate the insights of both conventionalism and naturalism to their proper theoretical roles. (shrink)

Here we present and develop the hypothesis that the derepression of endogenous retrotransposable elements (RTEs) – “genomic parasites” – is an important and hitherto under‐unexplored molecular aging process that can potentially occur in most tissues. We further envision that the activation and continued presence of retrotransposition contribute to age‐associated tissue degeneration and pathology. Chromatin is a complex and dynamic structure that needs to be maintained in a functional state throughout our lifetime. Studies of diverse species have revealed that chromatin undergoes (...) extensive rearrangements during aging. Cellular senescence, an important component of mammalian aging, has recently been associated with decreased heterochromatinization of normally silenced regions of the genome. These changes lead to the expression of RTEs, culminating in their transposition. RTEs are common in all kingdoms of life, and comprise close to 50% of mammalian genomes. They are tightly controlled, as their activity is highly destabilizing and mutagenic to their resident genomes. (shrink)

The Introduction provides an overview of Kendall Walton’s make-believe framework for a variety of representations and his arguments that such representations are dependent on their social or historical context. Walton argues that diverse representations involve our capacities for imagination and make-believe with props; they overlap with the fictional. Focusing on make-believe with props explains paradigmatic representational arts such as paintings and novels, theater and film. But this perspective reaches beyond the arts: it explains pictures and photographs in general not only (...) artistic ones; stories in general as well as literary and performing arts; music; metaphors, and even the claims we make about fictional entities and existence. The first section explains the main points of the make-believe framework in Mimesis as Make-Believe, and it reconstructs Walton’s argument in “Categories of Art” that some aesthetic properties depend on the perceptible and historical categories of art to which a work belongs. The second section outlines Walton’s specific proposals about literary fiction, fictional characters, poetry, pictures, photographs, music and negative existential claims. These explanations are integrated with summaries of the papers. The third section examines Walton’s implicit view of two much-discussed issues: the ontology of art and definitions of art. This discussion clears away some misunderstandings of Walton’s contextualism or historicism and relates Walton’s work to Arthur Danto’s and Frank Sibley’s. (shrink)

The paper argues that Daniel Dennett’s reductive account of consciousness in Consciousness Explained goes against theoretical commitments driving much of his previous work. I focus on considerations for the plurality of distinctive explanation of ourselves, as they have been articulated in Dennett's earlier work, and argue that Dennett's reductive framework is not adequately supported in the face of these considerations. The paper details tensions in Dennett’s work and shows how Consciousness Explained departs from the diagnoses of the mind/body problem offered (...) by Ryle, Wittgenstein and Sellars with which Dennett casts it as continuous. (shrink)

Recent debates about inequality have focused almost exclusively on the distribution of wealth and disparities in income, but little notice has been paid to the distribution of free time. Free time is commonly assumed to be a matter of personal preference, a good that one chooses to have more or less of. Even if there is unequal access to free time, the cause and solution are presumed to lie with the resources of income and wealth. In Free Time, Julie (...) Rose argues that these views are fundamentally mistaken. First, Rose contends that free time is a resource, like money, that one needs in order to pursue chosen ends. Further, realizing a just distribution of income and wealth is not sufficient to ensure a fair distribution of free time. Because of this, anyone concerned with distributive justice must attend to the distribution of free time. On the basis of widely held liberal principles, Rose explains why citizens are entitled to free time—time not committed to meeting life's necessities and instead available for chosen pursuits. The novel argument that the just society must guarantee all citizens their fair share of free time provides principled grounds to address critical policy choices, including work hours regulations, Sunday closing laws, public support for caregiving, and the pursuit of economic growth. Delving into an original topic that touches everyone, Free Time demonstrates why all citizens have, in the words of early labor reformers, a right to "hours for what we will.". (shrink)

This collection of papers investigates the most recent debates about individualism and holism in the philosophy of social science. The debates revolve mainly around two issues: firstly, whether social phenomena exist sui generis and how they relate to individuals. This is the focus of discussions between ontological individualists and ontological holists. Secondly, to what extent social scientific explanations may and should, focus on individuals and social phenomena respectively. This issue is debated amongst methodological holists and methodological individualists. -/- In social (...) science and philosophy, both issues have been intensively discussed and new versions of the dispute have appeared just as new arguments have been advanced. At present, the individualism/holism debate is extremely lively and this book reflects the major positions and perspectives within the debate. This volume is also relevant to debates about two closely related issues in social science: the micro-macro debate and the agency-structure debate. -/- This book presents contributions from key figures in both social science and philosophy, in the first such collection on this topic to be published since the 1970s. -/- . (shrink)

Acknowledgments THROUGHOUT this book I cite the many people who have provided information on individual programs and activities. ...

Julie K. Ward examines Aristotle's thought regarding how language informs our views of what is real. First she places Aristotle's theory in its historical and philosophical contexts in relation to Plato and Speusippus. Ward then explores Aristotle's theory of language as it is deployed in several works, including Ethics, Topics, Physics, and Metaphysics, so as to consider its relation to dialectical practice and scientific explanation as Aristotle conceived it.

Some interesting exceptions notwithstanding, the traditional logic of economic efficiency has long favored hierarchical forms of organization and disfavored democracy in business. What does the balance of arguments look like, however, when values besides efficient revenue production are brought into the picture? The question is not hypothetical: In recent years, an ever increasing number of corporations have developed and adopted socially responsible behaviors, thereby hybridizing aspects of corporate businesses and social organizations. We argue that the joint pursuit of financial and (...) social objectives warrants significant rethinking of organizational democracy’s merits compared both to hierarchy and to non-democratic alternatives to hierarchy. In making this argument, we draw on an extensive literature review to document the relative lack of substantive discussion of organizational democracy since 1960. And we draw lessons from political theory, suggesting that the success of political democracy in integrating diverse values offers some grounds for asserting parallel virtues in the business case. (shrink)

This is the first collection of essays focused on the many-faceted work of Kendall L. Walton. Walton has shaped debate about the arts for the last 50 years. He provides a comprehensive framework for understanding the arts in terms of the human capacity of make-believe that shows how different arts--visual, photographic, musical, literary, or poetic--can be explained in terms of complex structures of pretense, perception, imagining, empathy, and emotion. His ground-breaking work has been taken beyond aesthetics to address foundational issues (...) concerning linguistic and scientific representations--for example about the nature of scientific modelling or to explain how what we say is mostly quite different from the literal meanings of our words. Contributions from a diverse group of philosophers probe Walton's detailed proposals and the themes for research they open to provide an overview of important debates that have Walton's work at their core. This book will be of interest to scholars and graduate students working on aesthetics across the humanities, as well as those interested in the topic of representation and its intersection with perception, language, science, and metaphysics. (shrink)

This article argues that conceptual realism – the view that conceptual capacities secure the perceiver’s relation to what she sees – strengthens the appeal of a disjunctive approach to perception. The paper argues for a ‘fresh start’ that takes an explanatory approach to perception – asking for the best explanation of the perceptual capacities of mobile organisms – in place of the first person perspective of the argument from illusion. An explanatory perspective indicates that perception is a form of engagement. (...) The paper addresses two explanatory hurdles for disjunctive approaches. First, it argues that the relational nature of perceptual experience is indicated phenomenologically by the fact that one cannot retain the determinate character or content of a perceptual experience. Second, the paper sketches a realist approach to ‘what’ we perceive. (shrink)