Here the philosopher and physicist David Z Albert argues, among other things, that the difference between past and future can be understood as a mechanical phenomenon of nature and that quantum mechanics makes it impossible to present the entirety of what can be said about the world as a narrative of “befores” and “afters.”.

Recently, growing numbers of interns, apprentices, and volunteers are being recruited to work seasonally on ecologically oriented and organic farms across the global north. To date, there has been very little research examining these emergent forms of non-waged work. In this paper, we analyze the relationships between non-waged agricultural work and the economic circumstances of small- to medium-size farms and the non-economic ambitions of farm operators. We do so through a quantitative and qualitative analysis of farmers’ responses to two surveys (...) we conducted of farmers using non-waged workers in Ontario, Canada. We situate our analysis within debates on the agrarian question, which we contend requires an account for both the economic and non-economic dimensions of new forms of non-waged work on farms. We suggest that many ecologically oriented farm operators are struggling financially and report low gross on-farm revenues and personal incomes. We argue that in addition to relying on off-farm incomes and self-exploitation, many farms are managing to persist in a challenging economic climate through their use of intern, apprentice, and volunteer labor. However, we also suggest that the growth of non-waged work on farms is not simply being driven by economic processes but also a series of non-economic relationships focused on non-institutional farmer training, the pursuit of sustainability, and social movement building. We suggest, the “economic” and “non-economic” dimensions of internships, apprenticeships, and forms of volunteerism sit uneasily alongside of one another, generating questions about the politics, ethics, and sustainability of non-waged work and ecological farming. (shrink)

Split preorders are preordering relations on a domain whose composition is defined in a particular way by splitting the domain into two disjoint subsets. These relations and the associated composition arise in categorial proof theory in connection with coherence theorems. Here split preorders are represented isomorphically in the category whose arrows are binary relations and whose composition is defined in the usual way. This representation is related to a classical result of representation theory due to Richard Brauer.

It is proved that equations between arrows assumed for cartesian categories are maximal in the sense that extending them with any new equation in the language of free cartesian categories collapses a cartesian category into a preorder. An analogous result holds for categories with binary products, which may lack a terminal object. The proof is based on a coherence result for cartesian categories, which is related to model-theoretic methods of normalization. This maximality of cartesian categories, which is analogous to Post (...) completeness, shows that the usual equivalence between deductions in conjunctive logic induced by βη normalization in natural deduction is chosen optimally. (shrink)

The interaction between philosophy and political parties is one of the most lively questions in the discipline of the history of philosophy and in the battle of ideas today. It affects both specialists in philosophy and representatives of other professions, particularly in the broad realm of creative intellectuals. It excites people of different generations living under different social systems and belonging to different and often opposed classes.

Our Book Review Editor, James Keller, invited William Hasker to write a review of the Book by D. Z. Phillips, "The Problem of Evil and the Problem of God" and then in consultation with the Editor-in-Chief invited Phillips to respond. Aware of both their respect for each other and their philosophical differences we planned that Hasker's review and Phillips' response would appear in the same issue of the "International Journal for Philosophy of Religion." Unfortunately that was not to be. Dewi, (...) as he was known to his many friends throughout the world, collapsed at his desk on 25 July, 2006 in the library of his beloved University of Wales, Swansea. Although we were not able to have the review and response appear in the same issue as we had all planned, we are now printing his response to Hasker's review, "D. Z. Phillips's Problems with Evil and with God," which appeared in IJPR, Vol. 61,3. Dewi had completed the review and thanks to the efforts of Helen Baldwin who prepared the manuscript and Dewi's wife, Monica, and family we are able to print it here. Since Dewi was responding to an earlier version of Hasker's review, a few minor editorial changes have been made. Dewi's death is a great loss to the philosophical community and a deep personal loss to his family and friends, but I am confident that he would be pleassed to have this response appear. He might even have a story to tell, a comment that those who knew him well will fully understand. Eugene Thomas Long. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

Arab countries; intellectual life; congresses.

Rush Rhees was a philosopher, and a pupil and close friend of Ludwig Wittgenstein. While some of Rhees's own published papers became classics, most of his work remained unpublished during his lifetime. After his death, his papers were found to comprise sixteen thousand pages of manuscript on every aspect of philosophy, from philosophical logic to Simone Weil. This collection of unpublished papers, edited by D. Z. Phillips, includes Rhees's outstanding work on philosophy and religion. Written over an academic lifetime, some (...) of the papers are sympathetic to religion while others are not. It is Rhees's ability to interweave the personal and philosophical, and his integrity and intellectual honesty, which make this one of the most impressive books in twentieth-century philosophy of religion. (shrink)

On the dominant contemporary accounts of how practical considerations affect what we ought to believe, practical considerations either encroach on epistemic rationality by affecting whether a belief is epistemically justified, or constitute distinctively practical reasons for belief which can only affect what we ought to believe by conflicting with epistemic rationality. This paper argues that Søren Kierkegaard offers a promising alternative view on which practical considerations can affect what we ought to believe without either encroaching on or (necessarily) conflicting with (...) epistemic rationality by determining which among the epistemically permitted outright doxastic attitudes one should all‐things‐considered adopt. (shrink)

01. Athènes, Attique, Mégaride (Despina Chatzivasiliou) Généralités 01.01 — Dans une monographie, l’A. étudie la relation entre les sanctuaires d’Artémis à Brauron, à Mounichie et sur l’Acropole d’Athènes. Elle compare les vestiges et les offrandes avec ceux provenant d’autres lieux dédiés à Artémis (comme à Halai Araphinidai). Sa réflexion s’articule autour de la structuration du territoire de l’Attique, entre la polis et la chōra, et revoit la centralisation du déroulement des cultes généra...

The aim of this paper is to introduce the concept of the mirror as a methodological tool, with which Plato discusses reflection and describes the mimetic phenomena. The notion of the mirror first presents Plato’s view on the metaphysical division of the world. It then accounts for Plato’s hostility towards the poets and reveals that the ideal polis is the product of a special kind of philosophical mimesis. I argue that Plato’s own mirror is the dialogues he writes, and the (...) perfection of his mimetic activity is juxtaposed to the hazardous imitations of the poets. (shrink)

In the eighteenth century a large scale emigration of the most enterprising strata of mainly mercantile Greeks from their homelands in Asia Minor, Greece and the Balkans’ area, then under Ottoman rule, resulted in the creation of Greek merchant communities in the most important commercial and financial centers of the Mediterranean and Western Europe.

For St. Maximos the Confessor, the seventh century Byzantine theologian, deification was the ultimate goal of the monk and an event that required action both on the parts of God and the individual. While God originally bestowed upon humanity his image and likeness, as a result of the disobedience of Adam and Eve that takes place in the garden, humankind loses its ‘likeness’ to God. According to the Confessor, by following the commandments found in the Christian Gospel, one is able (...) to regain the likeness to God and, by doing so, one moves closer and closer to God, ultimately experiencing deification. This study will focus on the Commentary on the Lord’s Prayer but will also reference the Ascetical Life and the Centuries on Charity. For Maximos, deification will not take place without becoming ‘like’ God. (shrink)

St. Maximos the Confessor, a 7th-century monk, wrote several ascetical treatises that addressed the monastic life. This article explores the role of unwanted intrusive thoughts, the logismoi, outlined in two of his earlier works, the Centuries on Love and the Questions and Doubts. The author encourages the reader to pay particular attention to one’s thoughts, take the time to familiarize oneself with the thoughts that enter one’s mind, and offers advice on how to eliminate the causes of unwanted intrusive thoughts. (...) He concludes that the mind or nous is considered neutral ground and one is able to control, but not completely eradicate, the unwanted thoughts by utilizing specific spiritual techniques. (shrink)

Collectively these essays inform educators and researchers at different grade levels about the teaching and learning of proof at each level and, thus, help ...

What is argumentation? -- Building a classroom culture of argumentation -- Structuring classroom discussions to focus on argumentation -- Infusing all instruction with argumentation -- Argumentation for all students -- Argumentation and the mathematical practices -- Technology in teaching and learning argumentation -- Assessing argumentation and proof -- Conclusion.