BackgroundThough sobriety in young people is on the rise, students who drink little or no alcohol may experience social exclusion at University, impacting well-being. We aim to understand the social experiences of United Kingdom undergraduate students who drink little or no alcohol.MethodsA mixed-methods study using semi-structured, one-to-one interviews and the 24-Item Social Provisions Scale and Flourishing Scale with 15 undergraduate students who drink little or no alcohol. Descriptive statistics are presented for quantitative data and thematic analysis for qualitative.ResultsEight main themes (...) and four subthemes were generated from thematic analysis summarised in two sections ‘views of drinkers from non-drinkers’ and ‘how peer pressure feels and how people deal with it.’ The initial transition to University represented a challenge, where participants struggled to find their ‘true’ friends. However, students generally had high levels of social provision, well-being and enjoyed close friendships with fewer casual acquaintances. All students experienced some kind of peer pressure and developed coping strategies when in social situations involving alcohol. Fear of missing out on the ‘typical’ University experience heightened self-imposed expectations to drink. Despite participants acknowledging their counter-normative behaviour, some felt they were subject to stigmatisation by drinkers, doubting their non-drinker status, causing feelings of exclusion or being ‘boring.’ Their desire to ‘be like everyone else’ exposed some insight into the negative stereotypes of sobriety, including frustration behind alcohol’s status elevation.ConclusionStudents adopt strategies to minimise peer pressure and to fit in. Future research should interrogate drinkers’ perceptions of their sober peers to deepen understanding, better break down ‘us and them,’ and mitigate future expectations within the University drinking culture. (shrink)

Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?

Martin Davies; II*—Perceptual Content and Local Supervenience, Proceedings of the Aristotelian Society, Volume 92, Issue 1, 1 June 1992, Pages 21–46, https://do.

In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights core (...) topics in aesthetics and art theory, including traditional theories about the nature of art, aesthetic appreciation, artistic intentions, performance, and artistic meaning. (shrink)

Although women are severely under-represented in national politics in Europe, in the European Parliament they are better represented than they are in the national parliaments of the EEC member states. This book examines why this is so. Based largely on their detailed interviews with women MEPs, the authors describe the latter's backgrounds, attitudes and political experience. They also explain the history, structure and organisation of the European Parliament and outline the complexities of the European legal system. A particular concern of (...) the book is the contribution that women MEPs have made to legislation and policy, expecially in the context of recent Community legislation on sex equality, and what impact their presence has had on issues relating to women's interests. (shrink)

The physics of time asymmetry has never been a single well-defined subject, but more a collection of consistency problems which arise in almost all branches ...

Bourdieu suggested that the habitus contains the ‘genetic information’ which both allows and disposes successive generations to reproduce the world they inherit from their parents’ generation. While his writings on habitus are concerned with embodied dispositions, biological processes are not a feature of the practical reason of habitus. Recent critiques of the separate worlds of biology and culture, and the rise in epigenetics, provide new opportunities for expanding theoretical concepts like habitus. Using obesity science as a case study we attempt (...) to conceptualise the enfolding of biological and social processes (via a Deleuzian metaphor) to develop a concept of biohabitus – reconfiguring how social and biological environments interact across the life course, and may be transmitted and transformed intergenerationally. In conclusion we suggest that the enfolding and reproduction of social life that Bourdieu articulated as habitus is a useful theoretical frame that can be enhanced to critically develop epigenetic understandings of obesity, and vice versa. (shrink)

Despite the increased prevalence of bioethics research that seeks to use empirical data to answer normative research questions, there is no consensus as to what an appropriate methodology for this would be. This review aims to search the literature, present and critically discuss published Empirical Bioethics methodologies.

Martin Davies; V*—Idiom and Metaphor, Proceedings of the Aristotelian Society, Volume 83, Issue 1, 1 June 1983, Pages 67–86, https://doi.org/10.1093/aristotelia.

Three experiments investigated the relationship between subjective experience and attentional lapses during sustained attention. These experiments employed two measures of subjective experience to examine how differences in awareness correspond to variations in both task performance and psycho-physiological measures . This series of experiments examine these phenomena during the Sustained Attention to Response Task . The results suggest we can dissociate between two components of subjective experience during sustained attention: task unrelated thought which corresponds to an absent minded disengagement from the (...) task and a pre-occupation with one's task performance that seems to be best conceptualised as a strategic attempt to deploy attentional resources in response to a perception of environmental demands which exceed ones ability to perform the task. The implications of these findings for our understanding of how awareness is maintained on task relevant material during periods of sustained attention are discussed. (shrink)

Humanism offers students a clear and lucid introductory guide to the complexities of Humanism, one of the most contentious and divisive of artistic or literary concepts. Showing how the concept has evolved since the Renaissance period, Davies discusses humanism in the context of the rise of Fascism, the onset of World War II, the Holocaust, and their aftermath. Humanism provides basic definitions and concepts, a critique of the religion of humanity, and necessary background on religious, sexual and political themes (...) of modern life and thought, while enlightening the debate between humanism, modernism and antihumanism through the writings and works of such key figures as Pico Erasmus, Milton, Nietzsche, and Foucault. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the (...) positions that music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

Psychiatry widely assumes an internalist biomedical model of mental illness. I argue that many of psychiatry’s diagnostic categories involve an implicit commitment to constitutive externalism about mental illness. Some of these categories are socially externalist in nature.

Philosophical Perspectives on Art presents a series of essays devoted to two of the most fundamental topics in the philosophy of art: the distinctive character of artworks and what is involved in understanding them as art. In Part I, Stephen Davies considers a wide range of questions about the nature and definition of art. Can art be defined, and if so, which definitions are the most plausible? Do we make and consume art because there are evolutionary advantages to doing (...) so? Has art completed the mission that guided its earlier historical development, and if so, what is to become of it now? Should architecture be classified as an art form? -/- Part II turns to the interpretation and appreciation of art. What is the target and purpose of the critic's interpretation? Is interpretation primarily directed at uncovering artists' intended meanings? Can apparently contradictory interpretations of a given piece both be true? Are interpretative evaluations entailed by descriptions of a work's aesthetic and artistic characteristics? In addition to providing fresh answers to these and other central questions in aesthetics, Davies considers the nature and content of metaphor, and the relation between the expressive qualities of a work of art and the emotions of its creator. (shrink)

In this book, psychologists and philosophers describe and discuss a range of case studies of delusional beliefs, drawing out general lessons both for the cognitive architecture of the mind and for the notion of rationality, and exploring connections between the delusional beliefs that occur in schizophrenia and the flawed understanding of beliefs that is characteristic of autism.

In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can (...) be defined, and if so, how. As the author sees it, the functionalist believes that an object is a work of art only if it performs a particular function (usually, that of providing a rewarding aesthetic experience). By contrast the proceduralist believes that something is an artwork only if it has been created according to certain rules and procedures. Davies attempts to demonstrate the fruitfulness of viewing the debate in terms of this framework, and he develops new arguments against both points of view--although he is more critical of functional than of procedural definitions. Because it has generated so much of the recent literature, Davies starts his analysis with a discussion of Morris Weitz's germinal paper, "The Role of Theory in Aesthetics." He goes on to examine other important works by Arthur Danto, George Dickie, and Ben Tilghman and develops in his critiques original arguments on such matters of the artificiality of artworks and the relevance of artists' intentions. (shrink)

Many philosophers and psychologists argue that normal adult human beings possess a primitive or 'folk' psychological theory. Recently, however, this theory has come under challenge from the simulation alternative. This alternative view says that human bings are able to predict and explain each others' actions by using the resources of their own minds to simuate the psychological etiology of the actions of others. The thirteen essays in this volume present the foundations of theory of mind debate, and are accompanied by (...) an extensive introduction. (shrink)

Introduction Bronwyn Davies We began this book at a collective biography workshop that Susanne and I convened in a house at Bombo on the south coast of New ...

Employee buy-in is a key factor in ensuring small- and medium-size enterprise (SME) engagement with corporate social responsibility (CSR). In this exploratory study, we use participant observation and semi-structured interviews to investigate the way in which three fair trade SMEs utilise human resource management (and selection and socialisation in particular) to create employee engagement in a strong triple bottomline philosophy, while simultaneously coping with resource and size constraints. The conclusions suggest that there is a strong desire for, but tradeoff within (...) these companies between selection of individuals who already identify with the triple bottomline philosophy and individuals with experience and capability to deal with mainstream brand management – two critical employee attributes that appear to be rarely found together. The more important the business experience to the organisation, the more effort the organisation must expend in formalising their socialisation programmes to ensure employee engagement. A key method in doing this is increasing employee knowledge of, and affection for, the target beneficiaries of the CSR programme (increased moral intensity). (shrink)

Most art is made by people with a well-developed concept of art and who are familiar with its forms and genres as well as with the informal institutions of its presentation and reception. This is reflected in philosophers’ proposed definitions. The earliest artworks were made by people who lacked the concept and in a context that does not resemble the art traditions of established societies, however. An adequate definition must accommodate their efforts. The result is a complex, hybrid definition: something (...) is art (a) if it shows excellence of skill and achievement in realizing significant aesthetic goals, and either doing so is its primary, identifying function or doing so makes a vital contribution to the realization of its primary, identifying function, or (b) if it falls under an art genre or art form established and publicly recognized within an art tradition, or (c) if it is intended by its maker/presenter to be art and its maker/presenter does what is necessary and appropriate to realizing that intention. Meanwhile, artworlds—historically developed traditions of works, genres, theories, criticism, conventions for presentation, and so on—play a crucial but implicit role in (b) and (c). They are to be characterized in terms of their origins. (shrink)

Descartes is often regarded as the founder of modern philosophy, and is credited with placing at centre stage the question of what we know and how we know it. Descartes: Belief, Scepticism and Virtue seeks to reinsert his work and thought in its contemporary ethical and theological context. Richard Davies explores the much neglected notion of intellectual virtue as it applies to Descartes' inquiry as a whole. He examines the textual dynamics of Descartes' most famous writings in relation to (...) background debates about human endeavour from Plato down to Descartes' own contemporaries. Bringing these materials together in a novel format, Davies argues for a new approach to Descartes' ideas of scepticism and the sciences. The book also offers fresh interpretations of key passages of the Meditations. Descartes: Belief, Scepticism and Virtue offers an original reassessment of some of the most important bodies of work in Western Philosophy. (shrink)

In this paper, I shall defend externalism for the contents of perceptual experience. A perceptual experience has representational properties; it presents the world as being a certain way. A visual experience, for example, might present the world to a subject as containing a surface with a certain shape, lying at a certain distance, in a certain direction; perhaps a square with sides about 30 cm, lying about one metre in front of the subject, in a direction about 20 degrees to (...) the left of straight ahead. (shrink)

Written with clarity, wit, and rigor, _The Philosophy of Art_ provides an incisive account of the core topics in the field. The first volume in the new _Foundations of the Philosophy of the Arts_ series, designed to provide crisp introductions to the fundamental general questions about art, as well as to questions about the several arts. Presents a clear and insightful introduction to central topics and on-going debates in the philosophy of art. Eight sections cover a wide spectrum of topics (...) such as the interpretation of art, the relation between art and moral values, and the expression and arousal of emotion through art. Pedagogical features include full-color illustrations, vibrant examples, thought-provoking discussion questions and helpful suggested readings. (shrink)

This article explores the extent to which consumers consider ethics in luxury goods consumption. In particular, it explores whether there is a significant difference between consumers’ propensity to consider ethics in luxury versus commodity purchase and whether consumers are ready to purchase ethical-luxury. Prior research in ethical consumption focuses on low value, commoditized product categories such as food, cosmetics and high street apparel. It is debatable if consumers follow similar ethical consumption patterns in luxury purchases. Findings indicate that consumers’ propensity (...) to consider ethics is significantly lower in luxury purchases when compared to commoditized purchases and explores some of the potential reasons for this reduced propensity to identify or act upon ethical issues in luxury consumption. (shrink)

In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...) literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)

We describe in some detail how to build an infinite computing machine within a continuous Newtonian universe. The relevance of our construction to the Church-Turing thesis and the Platonist-Intuitionist debate about the nature of mathematics is also discussed.

This book is a survey of the range of apparently miraculous accidents of nature that have enabled the universe to evolve its familiar structures (atoms, stars, galaxies, and life itself) concludes with an investigation of the so-called anthropic principle.

Obsessed by the cases where things go wrong, we pay too little attention to the vastly more numerous cases where they go right, and where it is perhaps easier to see that the descriptive content of the expression concerned is wholly at the service of this function [of identifying reference], a function which is complementary to that of predication and contains no element of predication in itself (Strawson [1974], p. 66).An earlier version of the paper was written during an enjoyable (...) year spent as a Research Fellow at the University of Melbourne. (shrink)

Starting from Dennett's distinction between personal and sub-personal levels of description, I consider the relationships amongst three levels: the personal level, the level of information-processing mechanisms, and the level of neurobiology. I defend a conception of the relationship between the personal level and the sub-personal level of information-processing mechanisms as interaction without reduction . Even given a nonreductionist conception of persons, philosophical theorizing sometimes supports downward inferences from the personal to the sub-personal level. An example of a downward inference is (...) provided and an objection is considered. (shrink)

Anosognosia is literally ‘unawareness of or failure to acknowledge one’s hemi- plegia or other disability’ (OED). Etymology would suggest the meaning ‘lack of knowledge of disease’ so that anosognosia would include any denial of impairment, such as denial of blindness (Anton’s syndrome). But Babinski, who introduced the term in 1914, applied it only to patients with hemiplegia who fail to acknowledge their paralysis. Most commonly, this is failure to acknowledge paralysis of the left side of the body following damage to (...) the right hemisphere of the brain. In this paper, we shall mainly be concerned with anosognosia for hemiplegia. But we shall also use the term ‘anosognosia’ in an inclusive way to encompass lack of knowledge or acknowledgement of any impairment. Indeed, in the construction ‘anosognosia for X’, X might even be anosognosia for some Y. (shrink)

Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a single (...) type, Davies recognizes a great variety of kinds, and a complementary range of possibilities for their rendition. (shrink)

In this book, psychologists and philosophers describe and discuss a range of case studies of delusional beliefs, drawing out general lessons both for the cognitive architecture of the mind and for the notion of rationality, and exploring connections between the delusional beliefs that occur in schizophrenia and the flawed understanding of beliefs that is characteristic of autism.

Перевод статьи: Davies T., Chandler R. Online deliberation design: Choices, criteria, and evidence // Democracy in motion: Evaluating the practice and impact of deliberative civic engagement / Nabatchi T., Weiksner M., Gastil J., Leighninger M. (eds.). -- Oxford: Oxford univ. press, 2013. -- P. 103-131. А. Кулик. -/- Вниманию читателей предлагается обзор эмпирических исследований в области дизайна онлайн-форумов, предназначенных для вовлечения граждан в делиберацию. Размерности дизайна определены для различных характеристик делиберации: назначения, целевой аудитории, разобщенности участников в пространстве и во (...) времени, среды коммуникации и организации делиберативного процесса. После краткого обзора критериев оценки вариантов дизайна рассматриваются эмпирические данные, соотносящиеся с каждым из вариантов. Эффективность онлайн-делиберации зависит от того, насколько условия коммуникации соотносятся с заданиями делиберации. Компромиссы, как, например, между анонимным или идентифицируемым участием, предполагают различные дизайны в зависимости от цели делиберации и состава участников. Выводы исследования получены на материале существующих технологий и могут измениться по мере коэволюции технологий и пользователей. (shrink)

We provide a battery of examples of delusions against which theoretical accounts can be tested. Then, we identify neuropsychological anomalies that could produce the unusual experiences that may lead, in turn, to the delusions in our battery. However, we argue against Maher’s view that delusions are false beliefs that arise as normal responses to anomalous experiences. We propose, instead, that a second factor is required to account for the transition from unusual experience to delusional belief. The second factor in the (...) aetiology of delusions can be described superficially as a loss of the ability to reject a candidate for belief on the grounds of its implausibility and its inconsistency with everything else that the patient knows. But we point out some problems that confront any attempt to say more about the nature of this second factor. (shrink)

The history of the welfare state is not only or even primarily a story of men and measures but also one of concepts and social ideals. Over the last hundred and twenty years or so, the body of policies, rules, and practices which we collectively term the welfare state has become the most prominent feature of politics and state activity in every developed country. This reflects not only institutional and procedural pressures on the political process during this period, but also (...) the gradual permeation of all parties and arguments by a particular conception of welfare which has determined and limited the range and terms of debate. Both theoretical debate and concrete measures reflect pervasive assumptions and generalized arguments about the nature and content of collective and individual welfare, their preconditions, and their consequences. (shrink)

I discuss three theories regarding the interpretation of fictional literature: actual intentionalism (author's intentions constrain how their works are to be interpreted), hypothetical intentionalism (interpretations are justified as those most likely intended by a postulated author), and the value-maximizing theory (interpretations presenting the work in the most favourable light are to be preferred). I claim that actual intentionalism cannot account for the appropriateness or legitimacy of some interpretations, or alternatively that it must be weakened to the point that the considerations (...) raised by hypothetical intentionalists and value maximizers come into play. And I argue that hypothetical intentionalism either reduces to the value-maximizing theory, which provides a more accurate and clearer expression of the position than does hypothetical intentionalism, or it mistakenly attributes to hypothesized intentions the kind of force that attaches only to actual intentions. (shrink)

Care after research is for participants after they have finished the study. Often it is NHS-provided healthcare for the medical condition that the study addresses. Sometimes it includes the study intervention, whether funded and supplied by the study sponsor, NHS or other party. The NHS has the primary responsibility for care after research. However, researchers are responsible at least for explaining and justifying what will happen to participants once they have finished. RECs are responsible for considering the arrangements. There are (...) ethical and practical issues, in particular when participants may wish to continue on the study intervention after the study. There are also various guidelines and legislation. This document presents a framework of questions to help NHS RECs and their applicants. Information on this document’s development is here. (shrink)