This chapter contains sections titled: On Definition Theories of Gaming A Definition of Videogames.

The new art of videogames -- What are videogames anyway? -- On definition -- Theories of gaming -- A definition of videogames -- Videogames and fiction -- From tennis for two to worlds of warcraft -- Imaginary worlds and works of fiction -- Fictional or virtual? -- Interactive fiction -- Stepping into fictional worlds -- Welcome to rapture -- Meet niko bellic -- Experiencing game worlds -- Acting in game worlds -- Games through fiction -- The nature of gaming -- (...) What are the rules of this game? -- Playing, cheating, fragging, and griefing -- Videogames and narrative -- The stories games tell -- Would you kindly put down that wrench? -- Reconciling games and narratives -- Emotion in videogaming -- How can we be moved by the fate of Niko Bellic? -- My fear of mutants -- The role of the emotions in gaming -- The morality of videogames -- The problem with crime simulators -- Are games bad for you? -- On being offensive -- Sticking up for videogames -- Videogames as art -- Are videogames art? -- A cluster theory of art -- The art in videogames -- New art from old bottles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Videogames and Interactive FictionGrant TavinorIIn the third-person crime simulator Grand Theft Auto 3, the fictional performing of all sorts of criminal nuisance is a possibility. (Squeamish readers, or those that are adamant videogames are playing a decisive role in the moral degeneration of modern society might want to turn away now!) Here is one possibility for players of the game: while driving around in the rundown red-light district of (...) Portland Island, try stopping beside one of the women dressed in leather dresses and knee-high stockings who say things like "Have you ever been down south?" The fictional woman will bend down to the car window and eventually hop in. Now drive to a secluded area, stop the car, and wait. What happens? The car begins to rock up and down, slowly at first, and then more quickly, squeaking all the while. As it does, your health meter increases and the cash meter decreases. Eventually, after the car has stopped rocking, the prostitute exits and walks away. This is all obviously of questionable taste. But the really horrible part is that it is possible to mug the prostitute and take back your money!Though I am reluctant to tell you this, the first time I discovered the trick, I felt a sort of sadistic joy at my reprehensible behavior. Friends in the room at the time thought the whole incident hilarious; except for one who thought it extremely revolting. Perhaps now though, I feel guilty for what I did to the prostitute. (Hence my reluctance to let you know of my sinister fictional activities!) Of course, this episode raises a host of ethical questions; I will not attempt to answer them here. What I am interested in is the possibility of fictional interaction itself. The important point is that this fictive episode seems to show that it is possible in the case of videogames to feel guilty or ashamed for what one [End Page 24] does in a fictional world. But how is this possible? What does interacting with a videogame amount to that it allows for this intimate (and dubious) emotional connection?There is a wide and impressive literature in the analytic philosophy of the arts concerning the nature of fiction and the practice that surrounds it; this literature gives us an ideal theoretical basis from which to explore the topic of videogames. But also, videogames will allow us to return our attention to the theory, perhaps perceiving areas in which it can be improved, so as to become more generally applicable. I begin this paper by setting out some initial descriptive examples of the ways in which videogames are interactive fictions. After discussing an ambiguity in the notion of what it is to interact with a fiction, I deal with two prominent aspects of that interaction; that focused on fictive props, and the apparent interaction players have with fictional worlds. Next, I argue that the interactive nature of videogames alters the character of our interest in them. Rather than a focus on interpretive and sympathetic engagement with narratives, videogames involve their appreciators in an active engagement with the problem spaces or kinetic narratives of gameplay. Finally, I argue that because action and emotion are close cognitive bedfellows, and because emotion plays an important role in the psychology of fictive practice, that the emotions experienced by videogame players will be distinctive to that fictive form.IIVideogames provide their players with a variety of opportunities for interactive engagement. The last ten years have seen significant development in the extent of the fictive interactivity of videogames, especially with the advent of the "next generation" consoles such as Playstation 2 and X-Box, and the burgeoning genre of PC gaming. With the intention of providing some descriptive substance for the following theoretical discussions, in this section I present some examples of the ways in which modern videogames are interactive fictions, and how they differ to more traditional fictive forms in this respect.Many videogames involve exploring an environment. In Grand Theft Auto 3, the player, in the guise of a criminal protagonist, is able to explore the streets of Liberty City. Completing the objectives of the... (shrink)

The interpretation of character motivations is a crucial part of the understanding of many narratives, including those found in video games. This interpretation can be complicated in video games by the player performing the role of a player-character within the game narrative. Such performance finds the player making choices for the character and also interpreting the resulting character actions and their effect on the game's narrative. This can lead to interpretative difficulties for game narratives and their players: if a decision (...) to act is made by the player, is it that the player's own imaginative reasons for acting warrant some narrative interpretations and exclude others? To answer this I argue that we need to investigate the interactive ontology of video game narratives, the notion of game playing as interpretative performance, and the player-character, an artifact through which performance is focused in narrative games. Doing so shows there to be at least two problems with the notion of the correct interpretation of narrative games. Neither of these problems entirely negates the normativity of game narratives, however, and so players are left with the problem of how they might decide which of the possible playings are warranted. I end by making some practical suggestions for the thoughtful and narratively interested game player. (shrink)

This chapter contains sections titled: The Stories Games Tell Would You Kindly Put down That Wrench? Reconciling Games and Narratives.

This chapter contains sections titled: How Can We Be Moved by the Fate of Niko Bellic? My Fear of Mutants The Role of the Emotions in Gaming.

This chapter contains sections titled: The Nature of Gaming What Are the Rules of This Game? Playing, Cheating, Fragging, and Griefing.

The prelims comprise: Half‐Title Page Wiley Series Page Title Page Copyright Page Dedication Page Table of Contents Acknowledgments.

This chapter contains sections titled: Welcome to Rapture Meet Niko Bellic Experiencing Game Worlds Acting in Game Worlds.

This chapter contains sections titled: The Problem with Crime Simulators Are Games Bad for You? On Being Offensive Sticking up for Videogames.

This chapter contains sections titled: Are Videogames Art? A Cluster Theory of Art The Art in Videogames New Art from Old Bottles.

This chapter contains sections titled: From Tennis for Two to Worlds of Warcraft Imaginary Worlds and Works of Fiction Fictional or Virtual? Interactive Fiction.

Videogames are one of the most striking developments in recent popular arts. Many of the issues traditional to philosophical aesthetics find a new setting in videogames, and often take on a dramatic new form. Little has been written specifically on videogames in the philosophy of the arts, although they are often discussed in non-philosophical disciplines, such as media studies. A number of issues seem prominent, particularly those following from the interactive nature of videogames. This article is a survey of the (...) issues concerning videogames most likely to interest philosophers of the arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bioshock and the Art of RaptureGrant TavinorI am Andrew Ryan, and I am here to ask you a question. Is a man not entitled to the sweat of his brow? "No!" says the man in Washington, "It belongs to the poor." "No!" says the man in the Vatican, "It belongs to God." "No!" says the man in Moscow, "It belongs to everyone." I rejected these answers; instead, I chose (...) something different. I chose the impossible. I chose Rapture! A city where the artist would not fear the censor; where the scientist would not be bound by petty morality; where the great would not be constrained by the small! And with the sweat of your brow, Rapture can become your city as well.Andrew Ryan, opening BioshockIBioshock is the Masterpiece of recent gaming. Genre-wise the game is a first person-shooter survival-horror game—already a complicated mix of gaming forms—and Bioshock is excellent in these gaming terms: playing the game is a consistently engaging, challenging, and tense experience. The narrative of the game, set in Rapture, a dystopian city beneath the sea, fits perfectly with this interactive gaming form. The premise of Bioshock is a parody of Ayn Rand's objectivist novel Atlas Shrugged. Led by the magnate Andrew Ryan, the industrialists, artists, and scientists have retreated from the world and built Rapture through sheer force of will. But when the player enters the city at the beginning of the game, it is evident that nature is pushing back, and that the sea is slowly but surely retaking Rapture, while its citizens have become corrupted by the arts and sciences the city was built upon: as genetically manipulated "splicers" they now creep through Rapture's darkened halls bemoaning their lost humanity. Andrew Ryan "chose the impossible," [End Page 91] and inevitably his hubris is being repaid by the recalcitrance of human nature and the impermanence of human achievement. Much of the immense fun of Bioshock derives from the irony of an objectivist utopia running amok.The immediate visual impact of Bioshock, depending on its employment of cutting-edge high definition 3D computer graphics, is striking. The aesthetic qualities of the water, in particular, have drawn wide praise. The world of Rapture is also presented through an engaging and excellent style. To depict this decaying world, Bioshock draws on the architectural motifs and cultural themes of 1930s and 1940s America. Portrayals of decaying art deco facades, faded Hollywood socialites, and echoes of Hearst, Hughes, and Citizen Kane, are combined with period music and philosophical and literary references to produce a coherent artistic statement.Two features of Bioshock bear out its unique artfulness as a game. First is the role in the game-world of the Little Sisters: cute little girls that pose a game obstacle with which the player must decide how to deal. In Bioshock, the task of harvesting the game-world resources needed to survive is given a moral dimension in that the resources can be extracted only from the Little Sisters by killing them, and so a key part of the gameplay rests on an emotionally provocative moral choice. The second artful aspect of the game that warrants special attention is a narrative twist partway through the game where it becomes evident that player's principle sympathetic source of information in the game-world is a dissemblance. Bioshock has an interactive twist on an untrustworthy narrator, which clouds and complicates the decisions the player has made in Rapture. Rather than an actor, the player-character is a pawn in someone else's game. At the forefront of both of these aspects of Bioshock are considerations of freewill and morality.To really appreciate the art of Bioshock we need to understand its nature as a game, and moreover, to treat the gaming nature seriously and with sympathy. Bioshock is a videogame, and it is also clearly art; but it is not as if the game is art despite its being a videogame and that the art is a mere gloss or veneer. Rather, Bioshock's nature as a game allows it to be art of a distinctive kind. Treating videogames as a kind... (shrink)

This is the first book to present an aesthetics of virtual reality media. It situates virtual reality media in terms of the philosophy of the arts, comparing them to more familiar media such as painting, film and photography. When philosophers have approached virtual reality, they have almost always done so through the lens of metaphysics, asking questions about the reality of virtual items and worlds, about the value of such things, and indeed, about how they may reshape our understanding of (...) the "real" world. Grant Tavinor finds that approach to be fundamentally mistaken, and that to really account for virtual reality, we must focus on the medium and its uses, and not the hypothetical and speculative instances that are typically the focus of earlier works. He also argues that much of the cultural and metaphysical hype around virtual reality is undeserved. But this does not mean that virtual reality is illusory or uninteresting; on the contrary, it is significant for the altogether different reason that it overturns much of our understanding of how representational media can function and what we can use them to achieve. The Aesthetics of Virtual Reality will be of interest to scholars and advanced students working in aesthetics, philosophy of art, philosophy of technology, metaphysics, and game studies. (shrink)

This collection of essays is devoted to the philosophical examination of the aesthetics of videogames. Videogames represent one of the most significant developments in the modern popular arts, and it is a topic that is attracting much attention among philosophers of art and aestheticians. As a burgeoning medium of artistic expression, videogames raise entirely new aesthetic concerns, particularly concerning their ontology, interactivity, and aesthetic value. The essays in this volume address a number of pressing theoretical issues related to these areas, (...) including but not limited to: the nature of performance and identity in videogames; their status as an interactive form of art; the ethical problems raised by violence in videogames; and the representation of women in videogames and the gaming community. _The Aesthetics of Videogames _is an important contribution to analytic aesthetics that deals with an important and growing art form. (shrink)

The first edition of The Mind and its Discontents was a powerful analysis of how, as a society, we view mental illness. In the ten years since the first edition, there has been growing interest in the philosophy of psychiatry, and a new edition of this text is more timely and important than ever. -/- In The Mind and its Discontents, Grant Gillett argues that an understanding of mental illness requires more than just a study of biological models of (...) mental processes and pathologies. As intensely social animals, he argues, we need to look for the causes of human mental disorders in our interactions with others; in social rule-following and its role in the organization of mental content; in the power relations embedded within social structures and cultural norms; in the way that our mental life is inscribed by a cumulative life of encounters with others. Drawing upon work from within the philosophy of mind, epistemology, post-modern continental philosophy, and philosophy of language, he tries to elucidate the nature of psychiatric phenomena involving disorders of thought, perception, emotion, moral sense, and action. Within this framework, a series of chapters analyse important psychiatric disorders such as depression, attention deficiency, autism, schizophrenia, and anorexia. Along the way, Gillett explores the nature of memory and identity; of hysteria and what constitutes rational behaviour; and of what causes us to label someone a psychopath or deviant. -/- Updated, available in paperback, and more accessible than before, the new edition of this fascinating book will provide readers with important insights into the causes and nature of psychosis. In addition, Gillett's arguments have considerable implications for the way in which we understand and treat people suffering from psychiatric disorders. The Mind and its Discontents will be read by researchers and postgraduate students in a range of academic areas, including psychiatry, bioethics, philosophy of mind, social theory, and clinical psychology. It will also be of considerable interest to practising psychiatrists. (shrink)

The concept of measuring inconsistency in information was developed by John Grant in a 1978 paper in the context of first-order logic. For more than 20 years very little was done in this area until in the early 2000s a number of AI researchers started to formulate new inconsistency measures primarily in the context of propositional logic knowledge bases. The aim of this volume is to survey what has been done so far, to expand inconsistency measurement to other formalisms, (...) to connect it with related topics, and to provide ideas for further research in a topic that is particularly relevant now in view of the many inconsistencies in the massive amount of information available. The book contains 11 chapters. The first chapter, by John Grant, gives his original motivation for starting this field, explains why it was formulated in a highly mathematical manner, presents important material that was omitted from the original paper, and provides ideas about the use of dimensions in measuring inconsistency. The second chapter, by Matthias Thimm, is a survey that covers most of the research on inconsistency measures up to 2017. The other 9 chapters, all by experts either in inconsistency measures, or in the topic under consideration, or both, connect inconsistency measures with argumentation, disjunctive logic programming, fuzzy logic systems, modal logics, multiset representation, paraconsistent consequence, probabilistic logic, relational databases, and spatio-temporal databases."-- back cover. (shrink)

To speak of human rights in the twenty-first century is to speak of proportionality. Proportionality has been received into the constitutional doctrine of courts in continental Europe, the United Kingdom, Canada, New Zealand, Israel, South Africa, and the United States, as well as the jurisprudence of treaty-based legal systems such as the European Convention on Human Rights. Proportionality provides a common analytical framework for resolving the great moral and political questions confronting political communities. But behind the singular appeal to proportionality (...) lurks a range of different understandings. This volume brings together many of the world's leading constitutional theorists - proponents and critics of proportionality - to debate the merits of proportionality, the nature of rights, the practice of judicial review, and moral and legal reasoning. Their essays provide important new perspectives on this leading doctrine in human rights law. (shrink)

Faculty members in science, technology, engineering, and mathematics disciplines are typically expected to pursue grant funding and publish to support their research or teaching agendas. Providing effective professional development programs on grant preparation and management and on research publications is crucial. This study shares the design and implementation of such a program for Native STEM faculty from two tribal colleges and one public, non-tribal, Ph.D. granting institution during a 3-year period. The overall development and implementation of the program (...) is centered on the six R’s Indigenous framework – Respect, Relationship, Representation, Relevance, Responsibility, and Reciprocity. The role of NAF-STEM and their interactions with the program, as members of the community formed by their participation, impacted the program. Their practices and the program co-emerged over time, each providing structure and meaning for the other. Through such reciprocity, NAF-STEM and the program research team continually refined the program through their mutual engagement. They took on the shared responsibility of the program while they participated in and shaped its practices. The process and results of formative and summative assessment and the impact of COVID-19 on the program are reported. Results of the program offer lessons on the implementation of six R’s framework in professional development at institutions of higher education. (shrink)

From text to action -- Park fiction, ala plastica, and dialogue -- The risk of diversity -- Programmatic multiplicity -- Art theory and the post-structuralist canon -- Lessons in futility -- Enclosure acts -- The twelfth seat and the mirrored ceiling -- The atelier as workshop -- Labor, praxis, and representation -- The divided and incomplete subject of yesterday -- Memories of development -- The limits of ethical capitalism -- The art of the locality -- Blindness and insight -- The (...) invention of the public -- The boulevards of the inner city -- Park fiction : desire, resistance, and complicity -- A culture of needles : project row houses in Houston. (shrink)

George GrantÑphilosopher, conservative, Canadian nationalist, ChristianÑwas one of Canada’s most significant thinkers, and the author of Lament for a Nation, Technology and Empire, and English-Speaking Justice. Admirers and critics of the author will welcome these compelling essays about society’s traditional values in a technological age.

E. L. Grant Watson, an English field naturalist, zoologist, and one of England's best-loved nature writers, spent a lifetime trying to bring nature and consciousness into a unified, holistic vision that would establish meaning in the world without losing wonder. The questions raised by facts of nature inexplicable in terms of conventional theories, together with insights gained from a reading of Jung--as well as by a study of early Christian gnostic literature and the anthroposophy of Rudolf Steiner--brought him to (...) an imaginative perception of living things based on the conviction of the presence in all things of a spiritual reality. "Love is of man, but wisdom is of nature, and there are times when it almost seems that the author's secret--as perhaps it will one day be the secret of a reformed scientific method--is to stand aside and let the wisdom of nature herself speak through him. "-Owen Barfield. (shrink)

One of the most prominent African American intellectuals of the twentieth century, W. E. B. Du Bois continues to influence the understanding of race relations in the United States. In this deeply personal introduction to the man and his ideas, esteemed scholar Carl A. Grant reflects on how Du Bois's work has illuminated his own life practices as a Black student, teacher, assistant principal, and professor. Sharing the story of a brilliant man's life contribution to teaching about race and (...) the ideologies and methodologies of racism in education and social and political thought, Grant begins his narrative with a broad overview of Du Bois's life and scholarship, before turning more specifically to Du Bois's theory of an educational system. The book concludes with an examination of Du Bois's curriculum model, predicated upon the work of the NAACP, the Harlem Renaissance, and Du Bois's own writings, as well as a discussion of the lasting legacy of Du Bois's educational and social theory in the present day. Ideal for graduate-level courses in curriculum theory, educational foundations, and education history, Du Bois and Education provides an in-depth examination of Du Bois's scholarship, social criticism, and political thought as they relate to his educational theory. (shrink)

During the battle of Iwo Jima in June 1944, Private First Class Jackylin Harold Lucas and three other U.S. Marines came under attack while making their way along a ravine. Upon seeing two grenades thrown near the soldiers, Lucas dove onto one grenade and pulled the other under his body, saving his companions from serious injury or death. Lucas survived, but his injuries were so grave that his companions left him for dead. Lucas’s act was one of spectacular and nearly (...) suicidal altruism. What does such an act show us about our nature and the human capacity for good and evil? Perhaps it offers a window onto our true nature—a nature ultimately good, though susceptible to corrupting influences. Or perhaps it seems extraordinary precisely because we are greedy and violent by nature but can, in rare instances, rise above those instincts. Questions about what human nature is and how we can learn about it are difficult to answer. They are difficult not just because humans are complex creatures whose behavior is deeply embedded in the cultural environment that they are a part of, but also because it is not obvious what a concept of human nature is supposed to do or what it is for. The concept of human nature is often used as a normative concept, one that can serve as a guide to action, showing us how we ought to behave. Less commonplace is an approach that seeks a descriptive account of human nature, one that characterizes what humans do and are disposed to do. I argue in this essay that the normative and descriptive approaches are at odds and that we should not expect a single concept of human nature to play both roles. Furthermore, there are deep problems with normative accounts. They often ignore or contradict the contemporary scientific worldview, and they often merely reflect biases about how we ought to be and what we ought to do. Human nature in this sense becomes politicized and serves in arguments about the moral status of issues like homosexuality, abortion, or biomedical enhancement. Because of the problems inherent in normative notions of human nature, I offer a descriptive alternative. My alternative attempts to align the scientific study of the human with human nature. (shrink)

This stuff is everywhere -- The damage that it does -- On weasel words -- Building your own bullshitometer -- Noble monkeys: where we all came from -- The wonderful power of woo -- Bugs, bodies: mysteries of medicine -- Implacable foes of reason: the antivaxers -- No hoax: the truth about climate change -- That isn't exactly how it went: faking history -- Coprolite claims: faking archaeology -- All the news that's fit to fake.

Examines how the animal/human divide has influenced power dynamics. The division of life into animal and human is one of the fundamental schisms found within political societies. Ironically, given the immense influence of the animal/human divide, especially upon power dynamics, the discipline in charge of theorizing and studying power—political science and theory—has had little to say about the animal/human. This book seeks to amend this vast oversight. Acknowledging the complexity of the changing differences between animals and humans, the contributors explore (...) such topics as Marx, Freud, the animal, and civilization; dog breeding, racism, and democracy; the meaningful silences of animals; how sovereignty reconfigures the animal/human; and the paradoxical struggles against being dehumanized among immigrant workers in a slaughterhouse. Political Theory and the Animal/Human Relationship is necessary reading for anyone who wants to understand how power has been influenced by the animal/human divide, and what we can do about it. (shrink)

The recent spate of books and articles reflecting on the question of evil might make one forget that the question of just what constitutes goodness is no less urgent or perplexing. Everyone wants to think of him- or herself as good. But what does a good life look like? And how do people become good? Are there multiple, competing possibilities for what counts as a good life, all equally worthy? Or, is there a unified and transcendent conception of the good (...) that should guide our judgment of the possibilities? What does a good life look like when it is guided by God? How is a good life involved with the lives of others? And, finally, how good is good enough? These questions are the focus of _In Search of Goodness_, the product of a year-long conversation about goodness. The eight essays in this volume challenge the dichotomies that usually govern how goodness has been discussed in the past: altruism versus egoism; reason versus emotion; or moral choice versus moral character. Instead, the contributors seek to expand the terms of the discussion by coming at goodness from a variety of perspectives: psychological, philosophic, literary, religious, and political. In each case, they emphasize the lived realities and particulars of moral phenomena, taking up examples and illustrations from life, literature, and film. From Achilles and Billy Budd, to Oskar Schindler and Shel Silverstein’s _The Giving Tree_, to Iris Murdoch and the citizens of Flagstaff, Arizona, readers will find a wealth of thought-provoking insights to help them better understand this most basic, but complex, element of human life and happiness. (shrink)

This study examines the outcomes of a four-year faculty learning community (FLC) that aimed to transform departmental ethics curriculum by supporting Earth Sciences faculty members as they ethically inquired into their teaching of ethics and refined existing courses in alignment with an Integrated Community-Engaged Learning and Ethical Reflection (ICELER) framework. We present ethnographic case studies that unpack processes through which three faculty members transformed undergraduate courses. We assembled case studies by triangulating interview data, course artifacts, and faculty reflections. We examine (...) how faculty (1) built awareness around teaching ethics, (2) took responsibility for and made judgments about teaching ethics, (3) experimented by designing and implementing ICELER-inspired courses, and (4) interrogated the outcomes of their ethics teaching, utilizing findings to enhance awareness and revise courses. The paper closes by introducing a model detailing how instructors inquire into ethics teaching and how model components might inspire future educational practice and research. (shrink)

The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The approach adopted in this (...) paper is as follows. First, I say what creativity is and what an artistic merit is. Second, I identify reasons to doubt that creativity is an artistic merit. A good explanation of the merit of creativity should address these doubts. Third, I develop a theory of artistic merit that appeals to the final value of acting excellently – for example, virtuously or skilfully. Finally, I argue that this enables us to explain why creativity is an artistic merit. This account also enables us to argue that artistic merits give some things final value, and not merely instrumental value. It also provides reason to believe that ethical qualities of artworks enhance their artistic merit for the same reason creativity does. (shrink)

In _Beyond the Sovereign Self_ Grant H. Kester continues the critique of aesthetic autonomy begun in _The Sovereign Self_, showing how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester shows how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation. Among others, Kester analyzes the work of conceptual artist Adrian Piper, (...) experimental practices associated with the escrache tradition in Argentina, and indigenous Canadian artists such as Nadia Myer and Michèle Taïna Audette, showing how socially engaged art catalyzes forms of resistance that operate beyond the institutional art world. From the Americas and Europe to Iran and South Africa, Kester presents a historical genealogy of recent engaged art practices rooted in a deep history of cultural production, beginning with nineteenth-century political struggles and continuing into contemporary anticolonial resistance and other social movements. (shrink)

This open access book is a systematic update of the philosophical and scientific foundations of the biopsychosocial model of health, disease and healthcare. First proposed by George Engel 40 years ago, the Biopsychosocial Model is much cited in healthcare settings worldwide, but has been increasingly criticised for being vague, lacking in content, and in need of reworking in the light of recent developments. The book confronts the rapid changes to psychological science, neuroscience, healthcare, and philosophy that have occurred since the (...) model was first proposed and addresses key issues such as the model’s scientific basis, clinical utility, and philosophical coherence. The authors conceptualise biology and the psychosocial as in the same ontological space, interlinked by systems of communication-based regulatory control which constitute a new kind of causation. These are distinguished from physical and chemical laws, most clearly because they can break down, thus providing the basis for difference between health and disease. This work offers an urgent update to the model’s scientific and philosophical foundations, providing a new and coherent account of causal interactions between the biological, the psychological and social. (shrink)

Peculiar Attunements places the recent turn to affect into conversation with a parallel movement in European music theory of the eighteenth century. During that time the affects--or passions, as they were also called--formed a vital component of a mimetic model of the arts. Eighteenth-century critics held that artworks imitated or copied the natural world in order to produce copies of the affects in their beholders. But music caused a problem for such theories, since it wasn't apparent that musical tones could (...) imitate anything with any dependability, beyond the rare thunderclap or birdcall. Struggling to articulate how it was that music managed to move its auditors without imitation, certain theorists developed a new affect theory crafted especially for music, postulating that music's physical materiality as sound vibrated the nerves of listeners and attuned them to the affects through sympathetic resonance. This was a theory of affective attunement that bypassed the entire structure of representation, offering a non-discursive, corporeal alternative. It is a pendant to contemporary theories of affect, and one from which they have much to learn. Inflecting our current intellectual moment through eighteenth-century music theory and aesthetics, this book offers a reassessment of affect theory's common systems and processes. It offers a new way of thinking through affect dialectically, drawing attention to patterns and problems in affect theory that we have been given to repeating. Finally, taking a cue from eighteenth-century theory, it gives renewed attention to the objects that generate affects in subjects. (shrink)

This paper raises four queries about Simester’s defective engagement with reason account of culpability found in his Fundamentals of Criminal Law: (1) the characterisation of the account in terms of moral ‘vices’; (2) the basis for identifying a vice as a ‘moral’ vice; (3) what is involved in an agent manifesting ‘insufficient care and concern’ for the interests of others; and (4) whether the account is an account of culpability generally, or is instead an account of criminal culpability, i.e., the (...) type of culpability necessary for criminal conviction. (shrink)

Religionists and leftists have aligned themselves with several green causes, but have yet to engage each other in a real discussion of environmental issues. In this paper, I try to establish the basis for a dialogue between those segments of the religionist and leftist traditions that appear to have the most promise for forging a united green front. I label these two subgroups constructive postmodern religionistsand constructive postmodern leftists. I summarize the key ideas shared by each group, discuss how each (...) can rectify some of the weaknesses of the other, and consider some potential philosophical barriers to their union. I conclude by issuing a call for dialogue on the issues presented here. (shrink)