Citizen event reporting (CER) attempts to leverage the eyes and ears of a large population of citizen sensors to increase the amount of information available to decision makers. When deployed in an environment that includes hostile elements, foes can exploit the system to exert indirect control over the response infrastructure. We use an agent-based model to relate the utility of responses to population composition, citizen behavior, and decision strategy, and measure the result in terms of a force multiplier. We show (...) that CER can lead to positive force multipliers even with a majority of hostile elements in the population. When reporter identity is known, a reputation system that keeps track of trustworthy reporters can further increase the force multipliers. (shrink)

This book develops the interplay between phenomenology as a historical movement and as a descriptive method within Continental philosophy and the arts.

In general, stimuli that are familiar and recognizable have an advantage of predominance during binocular rivalry. Recent research has demonstrated that familiar and recognizable stimuli such as upright faces and words in a native language could break interocular suppression faster than their matched controls. In this study, a visible word prime was presented binocularly then replaced by a high-contrast dynamic noise pattern presented to one eye and either a semantically related or unrelated word was introduced to the other eye. We (...) measured how long it took for target words to break from suppression. To investigate word-parts priming, a second experiment also included word pairs that had overlapping subword fragments. Results from both experiments consistently show that semantically related words and words that shared subword fragments were faster to gain dominance compared to unrelated words, suggesting that words, even when interocularly suppressed and invisible, can benefit from semantic and subword priming. (shrink)

This article discusses Richard Kearney’s multidisciplinary trilogy on the role of ‘Philosophy at the Limits’: On Stories (2002), Strangers, Gods and Monsters (2002) and The God Who May Be (2001). The three books take a cross-cultural approach on the margins of philosophy, the first issuing an ethics of narrative, the second welcoming the figures of Otherness, and the third affirming that God neither is nor is not but may be. Promoting a middle way between subordinating the Same to the Other (...) and subordinating the Other to the Same, Kearney adopts the hermeneutic method to argue for the importance of faith as well as reason. (shrink)

Lists of species underpin many fields of human endeavour, but there are currently no universally accepted principles for deciding which biological species should be accepted when there are alternative taxonomic treatments (and, by extension, which scientific names should be applied to those species). As improvements in information technology make it easier to communicate, access, and aggregate biodiversity information, there is a need for a framework that helps taxonomists and the users of taxonomy decide which taxa and names should be used (...) by society whilst continuing to encourage taxonomic research that leads to new species discoveries, new knowledge of species relationships, and the refinement of existing species concepts. Here, we present 10 principles that can underpin such a governance framework, namely (i) the species list must be based on science and free from nontaxonomic considerations and interference, (ii) governance of the species list must aim for community support and use, (iii) all decisions about list composition must be transparent, (iv) the governance of validated lists of species is separate from the governance of the names of taxa, (v) governance of lists of accepted species must not constrain academic freedom, (vi) the set of criteria considered sufficient to recognise species boundaries may appropriately vary between different taxonomic groups but should be consistent when possible, (vii) a global list must balance conflicting needs for currency and stability by having archived versions, (viii) contributors need appropriate recognition, (ix) list content should be traceable, and (x) a global listing process needs both to encompass global diversity and to accommodate local knowledge of that diversity. We conclude by outlining issues that must be resolved if such a system of taxonomic list governance and a unified list of accepted scientific names generated are to be universally adopted. (shrink)

The last few decades have witnessed an explosion in ideas and theories on art. Art itself has never been more popular, but much recent thinking remains inaccessible and difficult to use. This book assesses the work of leading thinkers (including artists) who are having a major impact on making, criticizing and interpreting art. Each entry, written by a leading international expert, presents a concise, critical appraisal of a thinker and their contribution to thought about art and its place in the (...) wider cultural context. A guide to the key thinkers who shape today's world of art, this book is a vital reference for anyone interested in modern and contemporary art, its history, theory, philosophy and practice. (shrink)

In this paper, we describe how critical data designers have created projects that ‘push back’ against the eclipse of environmental problems by dominant orders: the pioneering pollution database Scorecard, released by the US NGO Environmental Defense Fund in 1997; the US Environmental Protection Agency’s EnviroAtlas that brings together numerous data sets and provides tools for valuing ecosystem services; and the Houston Clean Air Network’s maps of real-time ozone levels in Houston. Drawing on ethnographic observations and interviews, we analyse how critical (...) data designers turn scientific data and findings into claims and visualisations that are meaningful in contemporary political terms. The skills of critical data designers cross scales and domains; they must identify problems calling for public consideration, and then locate, access, link, and create visualisations of data relevant to the problem. We conclude by describing hazards ahead in work to leverage Big Data to understand and address environmental problems. Critical data designers need to understand what counts as a societal problem in a particular context, what doesn’t, what is seen as connected and not, what is seen as ethically charged, and what is exonerated and discounted. Such recognition is produced through interpretive, ‘close reading’ of the historical moment in which they operate. (shrink)

The merits of these two books speak for themselves. The topic chosen by the author is one that is very much alive today and one that has provoked much discussion, some superficial, some quite definitely soul-searching. To this latter the author has made a very valuable contribution. Religious of either sex will be the poorer for ignoring these two works. He states clearly some biting truths which lay bare the deep laden fears which militate against really choosing fully a vocation—a (...) choice which is for better or for worse. The demands of a vocation are always there as a challenge. In fact ‘a feeling of revulsion from the sacrificial element, an experience of turning away can be in fact the first experienced states of a person in whom the divine call truly exists’. (shrink)

Timothy M. Costelloe - Kant and the Culture of Enlightenment - Journal of the History of Philosophy 44:4 Journal of the History of Philosophy 44.4 667-668 Muse Search Journals This Journal Contents Reviewed by Timothy M. Costelloe The College of William and Mary Katerina Deligiorgi. Kant and the Culture of Enlightenment. Albany, New York: SUNY Press, 2005. Pp. xi + 248. Cloth, $70.00. At a time when our attention is overwhelmed by the practical manifestations of power in pursuit of personal, (...) political, and economic gain, it is timely to read a book urging the spirit of the Enlightenment as a palliative for contemporary ills. In Katerina Deligiorgi's recent study, Kant is the spectre haunting the halls of the Enlightenment project, reminding the living that it is a "culture" shaped by the "social ideal" of rational enquiry, self-criticism, and public debate ... (shrink)

Images are double agents. They receive information from the world, while also projecting visual imagination onto the world. As a result, mind and world tug our thinking about images, or particular kinds of images, in contrary directions. On one common division, world traces itself mechanically in photographs, whereas mind expresses itself through painting.1 Scholars of photography disavow such crude distinctions: much recent writing attends in detail to the materials and processes of photography, the agency of photographic artists, and the social (...) determinants of the production and reception of photographs. As such writing makes plain, photographs cannot be reduced to mechanical traces.2 Yet background conceptions of photography as trace or index persist almost by default, as no framework of comparable explanatory power has yet emerged to replace them. A conception of photography adequate to developments in recent scholarship is long overdue. Rather than constructing such a conception top-down, as philosophers are wont to do, this paper articulates it by examining selected works by James Welling.3 There are several reasons for this: Welling’s practice persistently explores the resources and possibilities of photography, the effect of these explorations is to express a particular metaphysics of the mind’s relation to its world, and appreciating why this metaphysics is aptly expressed by exploring photography requires a revised conception of what photography is. In as much as it provides a framework for a richer interpretation of Welling, the new conception is also capable of underwriting a wide range of critical and historical approaches to photography. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cognition and Commitment in Hume's PhilosophyTimothy M. CostelloeDon Garrett. Cognition and Commitment in Hume's Philosophy. Oxford: Oxford University Press, 1997. Pp. 270. Cloth, $49.95Given that the Hume literature abounds in interpretive disagreements, it is striking to read of Don Garrett's aim "to solve... to be the last word about... [a] set of problems that have long stood in the way of understanding Hume's philosophy" (10); and, as if (...) that were not enough, to see him defining success in terms of grasping Hume's aims, understanding his arguments, and explicating conclusions and interrelations between them (8-9). Somewhere between honesty and hubris, Garrett then investigates various "puzzles" within Hume scholarship. The first three chapters undertake work of clarification. The first addresses "imagination" and "understanding," emphasizing Hume's "rejection of the intellect" within rationalist and empiricist thought, before raising difficulties with and offering solutions to Hume's use of the terms. Garrett then distinguishes five types of empiricism which "produce and reinforce" Hume's status as a cognitive psychologist developing a "theory of representational faculties" (39). Chapters two and three examine Hume's "fundamental principles" (Copy Principle and Separablity Principle) leading Garrett into informative discussions of various doctrines—space and time (152ff), the missing shade of blue (50-53, 73), and "distinctions of reason" (59ff)—arguing that none contradict the principles in question. At the end of the chapter, Garrett concludes Hume's interest in both principles lies less in doctrines each "forbids" than in "investigations... [each] motivates" (75).Armed with a battery of distinctions, the remaining chapters focus on seven such "investigations," each situating the problem, reconstructing Hume's arguments, considering extant interpretations, and offering original solutions to the puzzles posed. In chapter five, for example, Garrett argues that Hume endorses two definitions of "cause," which, neither logically equivalent nor co-extensive, involves Hume in contradiction. Having considered and rejected interpretations by other commentators, Garrett proposes a solution: Since Hume holds both that a "relation" exists only where two or more relations are compared (102-4); and that necessary connection involves "pairs of objects" and "ideas of pairs" (105-6), cause and effect can be defined either as constant conjunction or association. The "contradiction" thus removed, Garrett supports [End Page 441] his case by arguing that since Hume accepts two definitions of "virtue" (107ff.), he can do the same with causality. Finally, Garrett raises four objections to his conclusion and, responding to each, completes his solution to the Humean puzzle.As scholarly and engaging as Garrett's book is, however, the spirit of Hume is often missing from its pages. Although important, an approach which focuses on discrete fundamental principles, sets and solves puzzles, and transforms philosophical prose into lists of numbered propositions, belies Hume as a thinker obsessed with the medium of his message. Philosophy, in Hume's view, is also a matter of taste and character; a way of being and thinking which, as Garrett acknowledges, is integral to the "conduct of...[Hume's] life" (241).No single study can capture Hume's philosophy in its entirety. Yet a book claiming the "last word" might acknowledge the necessary partiality of its approach especially when it affects its own conclusions. First, with few exceptions, Garrett makes almost perfect sense of everything Hume says; and even when found wanting, it is "less philosophically vitiating that one might expect" (39). Charitable readings and Hume's greatness, notwithstanding, for his work to be free of all contradiction would be extraordinary. Second, Garrett's "puzzles" are not always genuine. Emphasizing, for example, how Hume's definitions of cause are the same thing viewed from different perspectives might prevent such a puzzle arising at all; and the evidence for Hume's putative "propositional theory of moral evaluation" is so thin (191) that one suspects Garrett's method to have a hand in generating the alleged contradiction.The same is true of the concluding chapter. Presenting the "puzzle" as a contradiction between skepticism and science, and looking to "human reason" for solace (207), it comes as no surprise that Hume's skepticism should ground and reconfirm "our commitment to reason and its products" (208). Hume's... (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In _On Photography: A Philosophical Inquiry_ Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic (...) images from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through nineteenth-century debates about its standing as art, to twentieth-century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, _On Photography: A Philosophical Inquiry_ is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

While much has been written on phronesis, there is a dearth of empirical work on the how the concept can be developed and implemented in practice, particularly in an educational setting. To address this problem, characteristics of phronesis were identified through a review of current literature and an examination of related themes from a special issue of the Philosophy of Management Journal on the philosophy of innovation. The implementation of the concept was investigated using an illustrative study of ongoing work (...) aimed at embedding phronesis in an innovation educational module. The study will contribute to the nascent debate by providing evidence of embedding Aristotle’s phronesis in the curriculum of future managers, in this case Engineering and Business students, working in cross-functional teams. A schema is proposed, based on concepts distilled from the literature and the illustrative study, to examine whether an educational project cultivates phronesis among the students. (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In On Photography: A Philosophical Inquiry Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic (...) images from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through Nineteenth Century debates about its standing as art, to Twentieth Century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, On Photography: A Philosophical Inquiry is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

This paper describes a theory that explains both the creativity and the efficiency of people's conceptual combination. In the constraint theory, conceptual combination is controlled by three constraints of diagnosticity, plausibility, and informativeness. The constraints derive from the pragmatics of communication as applied to compound phrases. The creativity of combination arises because the constraints can be satisfied in many different ways. The constraint theory yields an algorithmic model of the efficiency of combination. The C3 model admits the full creativity of (...) combination and yet efficiently settles on the best interpretation for a given phrase. The constraint theory explains many empirical regularities in conceptual combination, and makes various empirically verified predictions. In computer simulations of compound phrase interpretation, the C3 model has produced results in general agreement with people's responses to the same phrases. (shrink)

This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...) Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)

I argue that Kant’s theory of art meets the challenge of strong non-perceptual art, an idea I extrapolate from James Shelley’s account of non-perceptual art. I endorse the spirit of Shelley’s account, but argue that his examples fail to support his case because he does not distinguish between strong and weak non-perceptual art. The former has no perceptible properties relevant to its appreciation as art; the latter is not exhausted by appreciation of those perceptible properties it does have. I show (...) this by comparing Marcel Duchamp’s Fountain and Robert Barry’s All the things I know. For Kant, appreciating art aesthetically as art requires: (1) awareness that it is art and (2) responsiveness to the ideas presented. Taken together, this allows Kant to accommodate strong non-perceptual art. I consider three challenges to this view: (a) Kant is committed to a representational theory of art; (b) Kant is committed to a restrictive formalism about aesthetic judgements of art; (c) Kant’s understanding of aesthetic pleasure commits him to a perceptual theory of art. I reply that: (i) this is grounded in empirical generalizations external to Kant’s theory; (ii) Kant’s strong formalist views are at odds with his account of ‘subjective purposiveness’, and the latter has priority; (iii) Kant is offering a general theory of art, which must accommodate both literature and strong non-perceptual art. (shrink)

This article considers the shift currently taking place in philosophical thinking about photography. What I call “new” theory departs from philosophical orthodoxy with respect to when a photograph comes into existence, a difference with far-reaching consequences. I trace this to Dawn Wilson on the “photographic event.” To assess the new theory's newness one needs a grip on the old. I divide this between “skeptical” and “nonskeptical” orthodoxy, where this turns on the theory's implications for photography's standing as art. New theory (...) emerges as a response to skeptical orthodoxy in particular. I divide new theory in turn between “restrictive” and “permissive” responses to skeptical orthodoxy and raise challenges for both. The restrictive version arguably divides what does and does not count as strictly photographic in arbitrary ways; the permissive version rules in images that are not obviously photographs and faces two difficulties individuating photographs. I conclude by noting several questions that need to be addressed before new theory clearly has the upper hand over orthodoxy. These concern its ability to account for photography's epistemic capacities, the extent to which it constitutes an advance over “nonskeptical” orthodoxy, and whether new theorists have yet to be new enough when it comes to photographic agency. (shrink)

Recent times have witnessed a groundswell in the number of British television programmes that deal with the ‘real life’ experiences of people in various health care settings. Such programmes tend to focus upon the two interrelated strands of the experience of those who deliver professional care and those who are at the receiving end of it. The usual rationale given for such programmes is that they offer insights about the delivery of health care that are not readily accessible to members (...) of the public. This article will look beneath the rationale and reasons offered by programme makers for the existence of such documentaries. It will explore insidious and questionable elements that go beyond revealing the ‘lived experience’ of professional carers and those for whom they care. Emerging from this is the challenging notion that such programmes deliver the opportunity to experience the vulnerability, suffering and even death of others through a voyeuristic gaze. (shrink)

In his writings Alfred Schutz identifies an artificiality in the concept of life-world produced by Edmund Husserl's method of reduction. As an alternative, he proposes to assume intersubjectivity as a given of everyday life. This eradicates Husserl's distinction between life-world and natural attitude. The subsequent phenomenological project appears to center upon sociological descriptions of the structures of the life-world rather than on a search for apodictic truth. Schutz, however, actually retains Husserl's emphasis on the subject. A tension then arises between (...) the assumption of intersubjectivity and individual experience. Rather than clarifying the concept of intersubjectivity, this further problematizes it. Drawing upon Max Weber's work, Schutz responds by developing a rigorous methodology for studying the social world. But having rejected Husserl's reduction and conflated life-world and natural attitude, Schutz's analysis moves at the level of daily life itself. Consequently, the explanatory categories he proposes appear as abstractions rather than as a way of describing lived experience. Schutz, it is concluded, initiates a scientistic sociology in which the commonsense structures of the natural attitude of everyday life are subverted and replaced by the more rigorous knowledge of the scientific attitude. Schutz's version of phenomenology is ultimately untrue to the spirit of Husserl's original project; and deploying his work as a clear-cut alternative to scientistic tendencies within sociology is not as straightforward as it might at first seem. (shrink)

We describe a computational model of two central aspects of people's probabilistic reasoning: descriptive probability estimation and inferential probability judgment. This model assumes that people's reasoning follows standard frequentist probability theory, but it is subject to random noise. This random noise has a regressive effect in descriptive probability estimation, moving probability estimates away from normative probabilities and toward the center of the probability scale. This random noise has an anti-regressive effect in inferential judgement, however. These regressive and anti-regressive effects explain (...) various reliable and systematic biases seen in people's descriptive probability estimation and inferential probability judgment. This model predicts that these contrary effects will tend to cancel out in tasks that involve both descriptive estimation and inferential judgement, leading to unbiased responses in those tasks. We test this model by applying it to one such task, described by Gallistel et al. ). Participants' median responses in this task were unbiased, agreeing with normative probability theory over the full range of responses. Our model captures the pattern of unbiased responses in this task, while simultaneously explaining systematic biases away from normatively correct probabilities seen in other tasks. (shrink)

A debate between two aestheticians concerning the relative influence of Scottish and German philosophers on the contemporary discipline. -/- .

Josiah Royce's graduate seminar in comparative methodology exerted one of the great teaching and intellectual influences of its time. Edited from photostatic copies of the original notebooks by Grover Smith, the text offers a condensed account of a great course in an era when great ideas were being formulated.

This paper considers whether Kant’s aesthetics withstands the challenge of Conceptual Art. I begin by looking at two competing views of Conceptual Art by recent philosophers, before settling on an ‘inclusive’ view of the form: Conceptual Art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is (...) meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the applicability of Kant’s aesthetics to Conceptual Art by considering two works by Lawrence Weiner, which I take to be a work of work of weak and strong NPA respectively. (shrink)

cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...) as a work of philosophical confession, on the other hand, I suggest that Danto’s late turn to aesthetics may be illuminated through a comparison with Philip Guston’s late turn to figuration. To do so, I draw parallels between Guston’s development as a painter and Danto’s philosophical trajectory. Danto concludes that, though necessary to life, beauty is not necessary to art; I conclude that, on this account, only an aesthetic art makes a warranted claim on our attention. (shrink)

This paper considers the claim that Hume washostile to religion and religious belief, andhoped for their demise. Part one examines hisapproach to belief, showing how commentatorstake him to see religious belief asnon-natural. Part two challenges thisconclusion by arguing, first, that Hume'sdistinction between natural and artificialvirtue allows the term ``natural'' to coverreligious belief as well; second, that Humehimself never denies religious belief isnatural, and, third, that he takes religion tobe a necessary part of any flourishing society. The target of Hume's critical (...) remarks onreligion, it is then emphasized, are forms of``false'' religion, which arise from thecorrupting influence of passion, hypocrisy,bigotry, enthusiasm, and superstition. Atbest, it is concluded, the claim that Hume washostile to religion requires qualification,while the view that he was in favor of itsactual demise is largely unwarranted. (shrink)

The book has two aims. First, to examine the extent and significance of the connection between Hume's aesthetics and his moral philosophy; and, second, to consider how, in light of the connection, his moral philosophy answers central questions in ethics. The first aim is realized in chapters 1-4. Chapter 1 examines Hume's essay "Of the Standard of Taste" to understand his search for a "standard" and how this affects the scope of his aesthetics. Chapter 2 establishes that he treats beauty (...) in nature and art and moral beauty as similar in kind, and applies the conclusions about his aesthetics to his moral thought. Chapter 3 solves a puzzle to which this gives rise, namely, how individuals both accept general standards that they also contravene in the course of aesthetic and moral activity. Chapter 4 takes up the normative aspect of Hume's approach by understanding moral character through his view of moral beauty. The second aim of the book is realized in chapters 5-7 by entertaining three objections against Hume's moral philosophy. First, if morality is an immediate reaction to the beauty of vice and the deformity of virtue, why is perfect virtue not the general condition of every human individual? Second, if morality consists of sentiments that arise in the subject, how can moral judgments be objective and claim universal validity? And third, if one can talk of "general standards" governing conduct, how does one account for the diversity of moral systems and their change over time? The first is answered by showing that like good taste in aesthetics, 'right taste' in morals requires that the sentiments are educated; the second, by arguing against the view that Hume is a subjectivist and a relativist, and the third, by showing that his approach contains a view of progress left untouched by any personal prejudices Hume himself might harbor. The book concludes in chapter 7 by showing how Hume's view of philosophy affects the scope of any normative ethics. (shrink)

While there is hardly an aspect of Hume’s work that has not produced controversy of one sort or another, deciphering and evaluating his views on aesthetics involves overcoming interpretive barriers of a particular sort. In addition to what is generally taken as the anachronistic attribution of “aesthetic theories” to any thinker of the eighteenth century, Hume presents the added difficulty that unlike the other founding-fathers of modern philosophical aesthetics, he produced no systematic work on the subject, and certainly nothing comparable (...) to his efforts in epistemology, morals, politics, history, and religion. Even interpreting Hume’s most definitive expression of his views on aesthetic questions—the famous essay “Of the Standard of Taste”—is fraught with difficulties and, as the diversity of views on the piece demonstrates, only the most confident reader would take it as an unambiguous statement of Hume’s position. (shrink)

In this paper, I examine Plato’s Euthyphro phenomenologically, reading the dialogue as manifesting the posture and activity of gratitude as an essential moment of piety. This phenomenon of gratitude appears directly through Euthyphro’s own remarks and indirectly through Socrates’s interaction with Euthyphro. Other recent commentators, notably Mark McPherran, David Parry, James Brouwer, and William Mann, have noted the importance of the Euthyphro as a dialogue that offers a great deal to the discussion of piety through the shape of the relationship (...) between Socrates and Euthyphro. In building my argument, I follow Parry’s examination of the notion of therapeia or care in order to mark out my own emphasis on charis or gratitude. And I note that, when gratitude is taken as an important phenomenon in the dialogue, what also appears to the reader is the pious possibility of authentic gift-giving and mutual recognition, something Brouwer, Mann, and McPherran have also noted indirectly. Finally, in addition to its synthesis of previous scholarship around a new theme, this paper applies to the dialogue the arguments of Melanie Klein’s “Envy and Gratitude,” Martin Heidegger’s lectures entitled What Is Called Thinking, and Jacques Derrida’s Given Time. (shrink)

Jean Luc-Marion’s assertion that Heidegger has not sufficiently addressed the notion of gratitude and the Call is incorrect. Based on Heidegger’s discussion in What is Called Thinking? of thankfulness and its relation to thinking, I argue that Heidegger indeed articulates a place for gratitude as the proper situation, the proper attitude of phenomenology. While I make an apology for Heidegger, I also note, however, that Husserl’s own discussions require more authentic reappraisal within the context of Heidegger’s work, thereby reinforcing the (...) notion that gratitude has something to say in terms of the way phenomenology getsbuilt up over time, both in form and content. (shrink)