This essay develops on the aesthetic dimensions of decolonial thought in the work of Rodolfo Kusch and Enrique Dussel, who both point us to non-objectifying modes of thinking and being. Beyond a strictly epistemological approach, decolonial critique ought to offer an account of bodies, spaces, and movements that are the very condition of thought—that is to say, the condition of a mode of thinking otherwise, beyond the dominant colonial paradigm. This account of aesthetics involves the spacing and temporalizing of bodies (...) as they live and move through the world, or what Alejandro Vallega calls living-thinking. The spacing-temporalizing of life points us also to the rhythm of life—life as movement, flow, and spacing. Turning to resistant epistemologies alongside the work of Omar Rivera, I consider how these epistemologies go beyond disembodied and abstracted ways of knowing as they sidestep the subject/object divide and engage sensuous and embodied dimensions of thinking, aesthetic experiences, diverse geographies, and histories. In closing, I argue that decolonial aesthetics also points us to a critique of the coloniality of space. Moving beyond a cartographic grid that attempts to capture subjects and spaces in advance on its coordinate plane, decolonial aesthetics opens onto the richness of embodied and cosmic spaces. (shrink)

Do unto others -- Don't pester the pigeons -- Try it, you'll like it -- Be science fair -- Chicken out -- Save the whales -- Be good to bugs -- Fur is un-fur-giveable -- Don't pass the product tests -- Horsing around -- It's raining cats and dogs -- "Companimals" are priceless -- Pen pals for animals -- Watch out for animals -- Dump wasteful habits -- Free the fishes -- Art impact -- Help turtles out of trouble -- (...) Stick it to 'em! -- Call for compassion -- Check out the entertainment -- Dress to a 't' -- Sing for the animals -- Be an elefriend--get the elefacts -- Write on! -- Born free, bored stiff -- Saying goodbye to uninvited guests -- Talk to the animals -- Get your class into the act -- Hooray for holidays! -- Dressing cool to be kind -- Pig out! -- Take care of hot dogs -- Oh, deer! -- Give a well-come gift -- Critter chatter -- Pack a lunch with punch -- Be a bookworm -- Reflecting on dissecting -- Step up on your soapbox -- Lost and found -- It's your turn to set the table -- School's out -- Develop a good roadside manner -- Add a little spice to their lives -- Make sure fair is fair -- Get poetic -- Join the club -- Hang in there -- One last thing you can do to help the animals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ease of CareTravis CearleyRoughly nine years ago, I was deer hunting on a friend's property just outside of Canaan, Missouri, where he had graciously provided me access to one of his premier tree stands. It was early in bow season and even though the calendar had suggested it was Autumn, the weather mirrored a classic Missouri August morning, muggy and thick. Dressed in my lightest hunting gear, I had (...) just gotten settled—bow in lap, arrow knocked, binoculars ready—when I felt a stinging sensation in my calf. Slowly hiking up my pant leg so as not to make too many sudden movements, I saw a familiar yet harrowing sight: Seed ticks had invaded my socks, and I was covered from the mid-calf down with black pulsating parasites. I knew instantly (as many outdoorsmen know) that my hunt had come to an end. Somewhere on the hike down the hillside or the climb into the tree, I had stepped on a nest of ticks, and the rest of my morning was shot (no pun intended). I quickly clambered out of the stand, made my way back to my friend's house and proceeded to strip down in his front yard. Left with only one option, I placed all "infected" articles of clothing in a burn pile, took my naked self to the nearest hose, rinsed feverishly in his yard, and checked every inch of my body for burrowed residents. You see, removal—complete and thorough—is the only way to keep the tick from becoming an unwelcome guest, causing itching and burning, or even spreading disease.The seed tick is an especially menacing foe. He can be invisible to the naked eye. He is faster than you would expect. He travels in herds. However, all ticks, regardless of size, are capable of causing weeks of discomfort. This discomfort and concern multiplies based on where the tick chooses to lodge itself. You see, there is a spot on the base of a man's penis where the penis itself meets the scrotum—a private, quiet, warm and damp location—that is particularly enticing to the tick. As an avid outdoorsman and lover of nature, I have had my fair share of uninvited guests attempt to call this place home. Multiple times in my life, I have taken caution in the painstaking removal of ticks in all sorts of locations, and I will tell you, few tasks are more galling or difficult than removing one burrowed next to the crease of the scrotum just under the penis itself. It seems they are keenly aware of the small bit of extra skin that exists on this part of the male anatomy, and part of me believes that they are also aware of the difficulty it presents. [End Page 79]At the time of the Canaan seed tick attack, my wife was pregnant with our first son who was due to be born that coming December. I am now the father of three sons. As a family, being outside is our favorite pastime. We run, we play, we chore; and whenever we can, we spend time in the woods. Whether we are exploring the various state parks of Missouri or rambling through the treelines of the family farm, some of the happiest times we spend as a family include nature. Nature means bugs; and even as a veteran tick assassin, I wasn't really prepared for the painstaking process of removing one from my son's nether regions. A few shivers, a few gasps and more than a few tears—juggling the "Get it off me, dad" with the "Don't worry, Daddy does this all the time"—nothing builds trust like tweezing a parasite from another person's scrotum. It is these moments that also remind me of how thankful I am for the absence of foreskin.I am a circumcised father of three circumcised boys. My wife and I chose to have our sons "clipped" after their births and by a medical professional. When my wife and I discussed whether or not to have them circumcised, I consistently came back to the same thought: "What benefit could foreskin... (shrink)

The following is excerpted from Sean Gurd’s translation of Euripides’ Hippolytus published with Uitgeverij this year. Though he was judged “most tragic” in the generation after his death, though more copies and fragments of his plays have survived than of any other tragedian, and though his Orestes became the most widely performed tragedy in Greco-Roman Antiquity, during his lifetime his success was only moderate, and to him his career may have felt more like a failure. He was regularly selected to (...) have his plays performed in the annual festival of Dionysus at Athens. But the plays were performed in a competition, and in the competitions he lost and lost, winning first place only five times in a career that spanned more than forty years. His corpus reads like the remains of a life spent trying to get a few things right and never being quite satisfied: scenes and schematized combinations of elements recur again and again, each time slightly changed. Hippolytus itself is an example: it contains two scenes in which a sick or dying character lies on a couch or a stretcher and is surrounded by silence and grief; he had experimented with such scenes in Alcestis, and would work with them again in Herakles and Orestes. Nor, judging from appearances, was he immune to the desire to score a hit, or to satisfy the audiences and the judges at the competition. Hippolytus is a rewrite of another Hippolytus, performed several years earlier, which scandalized the audience and certainly did not take first place. In that earlier Hippolytus (called by later writers Hippolytus Veiled), Euripides fashioned a Phaedra who was neither ashamed of loving her stepson nor incapable of taking steps to satisfy her desire. The forwardness of her approach to Hippolytus so outraged him that he covered his head with a robe (hence the play’s later title). Euripides liked to write energetic and self-confident women like this. He staged his Medea in 431, just three years before he revised Hippolytus, and in it the jilted title character murders her children in revenge for Jason’s new marriage to a more politically advantageous wife. Another flop: the play came in third of three. Evidently the judges did not like their women showing agency, especially when the consequences were transgressive. “The ornament of women,” wrote another great Athenian a little earlier, “is silence.”i Euripides’ Medea and his first Phaedra had other decorations. So three years after Medea crashed and burned and some time after the first Hippolytus suffered the same fate, he produced another Hippolytus play with a different setting and story. How could this one not have been a reaction to the failure of the first? “Second thoughts are always better,” he has one of his characters say, as though he were offering an apology for his first thoughts on the same story. In this new version, Phaedra is suicidally ashamed of her love, choosing to die rather than have it discovered, and willing to bring down her beloved Hippolytus in the service of the same end. Now it is Phaedra herself who covers her head in shock and horror at her desire. Only an intermediary, a slave of the house and an old crone with her fingers in all sorts of illicit pots, communicates Phaedra’s secret – against orders – and in consequence brings about the demise of two resolutely moral figures. It worked. For his tale of two well-born nobles with an unswerving commitment to moral action, destroyed by the meddling of a slave (and by the hostility of some particularly uncaring divinities), the judges crowned Euripides winner. It was the first time he had won, after almost thirty years of work. *** What Hippolytus wants more than anything else, as he protests with outrage just before leaving Trozen for the last time, is the benefit of due process – oaths, witnesses, an investigation that would reveal who really lusted after whom. Ironic, given that in the first Hippolytus, as far as we can make out, he did get a trial – but too late, and Theseus’ successful processing of Hippolytus failed to prevent his death. I cannot help hearing in the second Hippolytus’ complaints the anger of his authorial semblable who lost year after year by a process of judging that might have seemed brutal to him. Judges took no cognizance of how he worked, how long or hard or why; they just voted, and Euripides lost. But then I hear, in the fate of the first Hippolytus, an even grimmer commentary. Processed or not, we lose. We run aground. At the very least, this might cast a darker shadow on the business of watching or reading a play: in that twilight, things move too fast to make a fair assessment and, in any case, the reasonably high definition of what you see and hear belies the truth of indistinction, the multiplicities just below the surface. Watching is a constrained activity, a form of captivity, but reading is plastic. This translation was begun to supply the script for an audio version of the play, recorded in the spring of 2012, and here and there it sacrifices literalness for sayability and the voices and passions of the actors on that occasion. But it was finished to be read, and engineered to create a reading caught between the poles of specificity and non-specificity that the play itself conjures and relies on at its generative core. Thus two texts: the one clear, perhaps overprecise, respectably modern in its presentation, and the other ancient, a reasonable approximation of the classical reading process, and indistinct in vital ways. Like early modern dramatic texts, the exact provenance and original function of the scripts that have made it down to us are unknown. We do know that the ultimate survival of Hippolytus was thanks to its wide-spread use as a school text. But its relation to the first performance in 428 BCE is a matter only of speculation. Euripides presumably had a fair copy before production began; it was probably modified during rehearsals. The actors may have had copies, too (probably the young men who served in the chorus did not). The chor?gos, a wealthy Athenian who paid for the production, might have been presented with or just made sure to get his hands on a high-quality text, to commemorate the play’s success. Fans might have been able to buy copies. Any one of these sources might have provided the ultimate progenitor of our text. Several of them might have, in fact, if later editors compared and conflated traditions. The plays toured extensively in the Greek-speaking world, and were restaged as repertoire for centuries afterwards. In the process they were subjected to enough modifications by producers and actors that in the later fourth century the Athenian statesman Lycurgus had a law passed prohibiting performances at Athens from deviating from the official “city” text of the tragedies (which he had commissioned). It is unlikely that the city text was the last word; but it marks an important moment in Athens’ role in their dissemination, since after this the major sites of textual curatorship moved overseas, to Alexandria, Pergamum, Rome, Antioch, Constantinople. Any single text of any single play is thus no more than a moment of clarity and stability, crossed and subtended by multiple vectors of change, including that of textual flux (from Euripides’ first drafts to the latest printed text) and that of Euripides’ life work as a writer, in the light of which the Hippolytus is just one attempt to produce something exactly right, to win the prize or finally satisfy himself or prove to himself that all this longing for perfection was a waste of time. I am intrigued by the possibility that a single text might somehow serve as a lens onto this wider zone of indistinction, representing a small region clearly but nonetheless containing a blurred image of the whole, like a Leibnizian monad. After all, no text is a witness: it is, rather, a perception and a performance, and what every Hippolytus must perform is the awkward overlay of singular and plural, social practise and subliminal drive, that structures the tragedy. Modern critical editions can do this by juxtaposing a (relatively) clean and simple text with a textual apparatus reporting variants and theorizing the relationship between textual instantiations. A translation lacks the resolution to catch the fine variations which feed into the construction of an apparatus. But there are other means to hand. Guessing at the exact words of the original text is always just that – guessing – though Hippolytus is less problematic than plays like Iphigenia at Aulis. But we can make a pretty secure guess at what such a text looked like. Texts read by fifth-century readers were fundamentally different from what is presented in the best medieval MSS and printed in modern publications. The texts of Euripides’ time and for many centuries afterwards did not indicate word division with spaces (or by any other means) and were extremely sparing in punctuation, often avoiding it altogether. There was only one “case” of letters – what we call “capitals.” Musical sections were inscribed as though they were prose, without line endings to reflect their rhythm or their rhetorical structure. There was no indication of the speakers within a dramatic text, either. The earliest surviving dramatic texts, which come from over a century after Euripides’ death and a time which was much more elaborate and precise in its textual culture, indicated speaker-change with a little line or paragraphos below the line and a double-point [:] at its end. This convention almost certainly does not date back to Euripides’ own time; it may not even date to Lycurgus. In any case, such indications were understood to be readers’ marks: they did not have the same authority as the text and they were subject to readers’ revisions. At least ideationally, if not in concrete and distinguishable fact, a dramatic text was understood as containing no indication of speaker-change (and certainly none of who was saying what). The reader had to figure that out for him-/herself. The clear, legible, easy texts we are accustomed to reading are the fabrications of medieval and modern reading cultures. The first text, then, presents the translation as the text would have been in the mid-fourth century, perhaps decades after Euripides’ death. The second text processes Hippolytus, makes sense of it and makes it “readable.” That is: too distinct, dangerously so. It gets in your way, conjures fantoms, tries to make you see. Fragments of the Hippolytus Veiled, otherwise almost entirely lost, are juxtaposed with similar passages in the text – not to suggest a reconstruction, but a dialogue and a complex set of reassessments. I have not tried to represent the full variety of textual variants, but I have signalled where, for one reason or another, the text is soft and different editions propose excisions or changes. The two texts must be read together: you, reader, form the bridge between the distinctly seen and the indistinct invisible. You, in the end, will be its mask. *** illsandhateddiseaseswhatcanidoforyouwhatshouldinotdohereisthelightandthebrightairyoursickbedisnowout s idethehouseyoureverywordwastocomeherebutyouwillrushbacktoyourbedroomagainyoufadequicklyyoudelig htinnothingyoudislikewhatyouhaveyoulovewhatyoudontitsbettertobesickthantendthesickthefirstissimpleto the secondattachesheartspainandhandsworkeveryhumanlifeispainfulthereisnoendtotoildarknesshidesbehindclo udswhateverisdearerthanlifeweproveunhappyloversofwhatshineshereforlackofknowledgeofanotherlifethere isnoproofforthingsbeneaththeearthonlystoriessustainus liftmybodystraightenmyheadthebondsofmylimbsareloosenedtakemyhandsandmypalearmsthishatistooheavy formyheadtoweartakeitoffspreadmyhairovermyshoulders couragechilddonttossandturnsoviolentlyyouwillbearyoursicknessmoreeasilywithpeaceandanoblemindallmort alssuffer aiaiiwanttodrinkpurewaterfromadewyspringiwanttoliebackandrestunderthetreesinsomegrassymeadowchildw hycrydontsaythesethingsnearthecrowdhurlingwordsmountedonmadness sendmetothemountainiwillgototheforestwherebeastkillingdogspressthespotteddeergodsilongtoshouttothedo gstoshootthethessalianjavelinpastmyblondhairtoholdthebarbeddartinmyhandwhythisanxietychildwhatdoyouc areabouthuntingwhydoyoulustforflowingspringstheresahillwithwaterjustnexttothetowerwecangetyouadrinkt h ereartemismistressofthesaltlakeandthecoursethunderingwithhorseshoovesiwishiwereonyourplainsbreakings t uds whythrowthesefrenziedwordsaboutjustnowyouweresettingoutforthemountaintohuntandnowyoulongforhorses onthewavelesssand thesethingsneedanoracletotellwhichgodreinsyouinanddrivesyoufromyoursenseschild whathaveidonehowfarhaveibeendrivenfromgoodthoughtsiwascrazyiwascursedbysomepowerpheupheualasn ursecovermyheadagainimashamedofwhativesaidcovermeatearmovesdownfrommyeyeanditembarrassesm eithurtstostraightenourmindanditisterribletobeinsanebesttodiebeforeyoubecomelucidagain illcoveryoubutwhenwilldeathcovermeimoldivelearnedalotmortalsshoulddrinkoffriendshipmoderatelynotfrom th edeepestmarrowofthesoulamindslovecharmsshouldbeeasytoundoorthrustawayortiemoretightlyitisaverydiffic ultweightforonesoultolaborovertwopeopleasiamwrackedbypainforhertoomuchdisciplinecausesmoreharmthan pleasureandwarswithhealthipraisetoomuchlessthannothinginexcessandthewiseagreewithme *** Scene 1 Enter Phaedra and the Nurse; the former is recumbent on a couch while the latter bustles about her with gestures that might be those of a caregiver or a guard. NURSE Ills and hated diseases! What can I do for you? What should I not do? Here is the light, and the bright air; your sick bed is now outside the house. Your every word was to come here, but you will rush back to your bedroom again. You fade quickly. You delight in nothing. You dislike what you have. You love what you don’t. It’s better to be sick than tend the sick – the first is simple. To the second attaches heart’s pain and hand’s work. Every human life is painful. There is no end to toil. Darkness hides behind clouds whatever is dearer than life. We prove unhappy lovers of what shines here for lack of knowledge of another life. There is no proof for things beneath the earth. Only stories sustain us. PHAEDRA Lift my body, straighten my head: the bonds of my limbs are loosened. Take my hands and my pale arms. This hat is too heavy for my head to wear. Take it off, spread my hair over my shoulders. NURSE Courage, child; don’t toss and turn so violently. You will bear your sickness more easily with peace and a noble mind. All mortals suffer. PHAEDRA Aiai. I want to drink pure water from a dewy spring. I want to lie back and rest under the trees in some grassy meadow. NURSE Child, why cry? Don’t say these things near the crowd, hurling words mounted on madness. PHAEDRA Send me to the mountain. I will go to the forest where beast-killing dogs press the spotted deer. Gods! I long to shout to the dogs, to shoot the Thessalian javelin past my blond hair, to hold the barbed dart in my hand. NURSE Why this anxiety, child? What do you care about hunting? Why do you lust for flowing springs? There’s a hill with water just next to the tower; we can get you a drink there. PHAEDRA Artemis, mistress of the salt lake and the course thundering with horse’s hooves: I wish I were on your plains breaking studs! NURSE Why throw these frenzied words about? Just now you were setting out for the mountain to hunt – and now you long for horses on the waveless sand. These things need an oracle to tell which god reins you in and drives you from your senses, child. PHAEDRA What have I done? How far have I been driven from good thoughts? I was crazy, I was cursed by some power. Pheu pheu. Alas. Nurse, cover my head again. I’m ashamed of what I’ve said. Cover me – a tear moves down from my eye and it embarrasses me. It hurts to straighten your mind and it is terrible to be insane. Best to die before you become lucid again. NURSE I’ll cover you. But when will death cover me? I’m old; I’ve learned a lot. Mortals should drink of friendship moderately, not from the deepest marrow of the soul. A mind’s love-charms should be easy to undo, or thrust away, or tie more tightly. It is a very difficult weight for one soul to labor over two people, as I am wracked by pain for her. Too much discipline causes more harm than pleasure and wars with health. I praise “too much” less than “nothing in excess,” and the wise agree with me. ***. (shrink)

_Expanding Hermeneutics_ examines the development of interpretation theory, emphasizing how science in practice involves and implicates interpretive processes. Ihde argues that the sciences have developed a sophisticated visual hermeneutics that produces evidence by means of imaging, visual displays, and visualizations. From this vantage point, Ihde demonstrates how interpretation is built into technologies and instruments.

The Buddhist Jātaka tells the tale of a hare lounging under a palm tree who becomes convinced the Earth is coming to an end when a ripe bael fruit falls on its head. Soon all the hares are running; other animals join them, forming a stampede of deer, boar, elk, buffalo, wild oxen, rhinoceros, tigers and elephants, loudly proclaiming the earth is ending.1 In the American retelling, the hare is ‘chicken little,’ and the exaggerated fear is that the sky is (...) falling. The story offers a cautionary tale for considering the trend towards calamity thinking in artificial intelligence (AI). A growing chorus of tech leaders has warned that AI poses existential risk (X-Risk) that could result in the extinction of the human species, the collapse of civilisation, or a colossal decline in human potential and culture. In 2014, Hawking told the Washington Post that AI, ‘could spell the end of the human race’.2 Musk has repeatedly warned about AI’s perils, calling AI, ‘more dangerous than nukes’, recommending colonising Mars to ensure ‘a bolt-hole if AI goes rogue and turns on humanity’,3 and donating 10 million dollars to the Future of Life Institute to jumpstart research on AI’s X-Risk. Gates has stated, ‘I am in the camp…concerned about super intelligence…I agree with … Musk and some others on this and don’t understand why some people are not concerned’.4 Altman, CEO of OpenAI, has fretted that technologies OpenAI was building could endanger humanity—‘even destroying the world as we know it’.5 This paper offers a critical appraisal of the rise of calamity thinking in the scholarly AI ethics literature. It cautions against viewing X-Risk in isolation and highlights ethical considerations sidelined when X-Risk takes centre stage. Section I introduces a working definition of X-Risk, considers its likelihood and …. (shrink)

Ever since Achterhuis designated American philosophy of technology “empirical” there has been a Continental “push-back” defending the first generation of European—mostly Heidegger’s essentialistic “transcendental”—philosophy of technology. While I prefer a “concrete” turn—to avoid confusing with British “empiricism”—in a belief that particular technologies are different from others—this is a quibble. I admit I was very taken by Richard Rorty’s “anti-essentialism” and “non-foundationalism” in his version of pragmatism, and have adapted much of that stance into postphenomenology. In this contribution I reply to (...) the comments of Lars Botin and Robert Rosenberger. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Breathing with Denise LevertovNoëlle Batt (bio)The BreathingAn absolutepatience.Trees standup to their knees infog. The fogslowly flowsuphill.Whitecobwebs, the grassleaning where deerhave looked for apples.The woodsfrom brook to wherethe top of the hill looksover the fog, send upnot one bird.So absolute, it isno other thanhappiness itself, a breathingtoo quiet to hear.–Denise LevertovI propose to share this poem, "The Breathing," by Denise Levertov, with the readers of SubStance as a moment of (...) calm, an antidote to violence and pain, and a gesture of hope in the future relations between humans and the many creatures of the vegetal and animal world.What is remarkable in this imaginary landscape sketched by Levertov is the peacefulness of the scene which is mostly due to the absence of movement, the absence of action performed in praesentia between the first and the last word of the poem. And since we know that poets are marvelous craftsmen and craftswomen of language, we shall look for the cause to this effect in the poetic language and shall find it in the subtly modulated use (or non-use) of verbs in the poem, a different kind of use in each sentence, yet, converging to the same effect. And since verbs are also the main markers of time in language, the poem appears in the literal sense, as a verbal, a literary "still life." [End Page 160]The first sentence strikes a strong blow since the verb is quite simply omitted in it. The sentence is a nominal clause: "An absolute/ patience."In the second sentence, "Trees stand/ up to their knees in/ fog," we find a static verb "to stand" and the personification of the trees clearly establishes that they might have moved, but they have not; they stand wrapped in the fog up to "their knees," i.e., between a quarter and a fifth of their trunks.In the third sentence, something moves: "The fog/ slowly flows/ uphill." But there is something contradictory in the fact of flowing up. Usually, rivers or brooks flow down. Flowing up, then, implies a difficulty to flow and consequently a slowing down of the rhythm of the flow which is here expressed by the adverb "slowly"; the adverb seems here all the more congenial to the flowing in that the two words are linked by a strong paronomastic effect: slowly flows, set in the two /s/, one at the beginning of slowly, the other at the end of flows: slowly flows.The fourth sentence is characterized by still another pattern: "White/ cobwebs. The grass/leaning where deer/have looked for apples." We now face the result of two past actions, actions that were performed before the scene that the poem invites us to contemplate was composed. In effect, the "white cobwebs" have been woven by the spiders at a previous moment, and they even had time to be colored in white by the drops of the humid fog. And "the grass leaning where deer have looked for apples" tells us that deer were here earlier, looking for food, but they no longer are, and what signals their former presence is a tenuous detail: the inclination of the grass, bent by their walking on it and searching through it, remaining bent for a little while after their passage. And to achieve her verbal strategy, Levertov even suppresses the auxiliary which might have been here. We read "the grass leaning" with a lonely present participle, and not "the grass is leaning."Another interesting grammatical event happens in the fifth sentence: "The woods/ from brook to where/ the top of the hill looks/ over the fog, send up/ not one bird." The first verb is a verb of perception ("to look") and not a verb of action. But the second verb is a verb of action ("to send up"), which is used in a quite unusual variety of the verbal negative form since instead of having the negative adverb attached to the verb (don't send up), we have an affirmative use of the verb ("send... (shrink)

Quantum mechanics may be formulated as Sensible Quantum Mechanics (SQM) so that it contains nothing probabilistic except conscious perceptions. Sets of these perceptions can be deterministically realized with measures given by expectation values of positive-operator-valued awareness operators. Ratios of the measures for these sets of perceptions can be interpreted as frequency- type probabilities for many actually existing sets. These probabilities gener- ally cannot be given by the ordinary quantum “probabilities” for a single set of alternatives. Probabilism, or ascribing probabilities to (...) unconscious aspects of the world, may be seen to be an aesthemamorphic myth. (shrink)

Husserl’s Crisis argues that early modern science, exemplified in Galileo, separates the Lifeworld from a world of science by forgetting its origins in bodily perception on the one side, and the practices which found the science on the other. This essay argues that, rather, by overemphasizing mathematization and underemphasizing instruments or technologies which mediate perception, Husserl creates the division he describes. Positively, through the embodied use of instruments science remains thoroughly immersed in the Lifeworld.

_BMC Medical Ethics_ is an open access journal publishing original peer-reviewed research articles in relation to the ethical aspects of biomedical research and clinical practice, including professional choices and conduct, medical technologies, healthcare systems and health policies. _BMC __Medical Ethics _is part of the _BMC_ series which publishes subject-specific journals focused on the needs of individual research communities across all areas of biology and medicine. We do not make editorial decisions on the basis of the interest of a study or (...) its likely impact. Studies must be scientifically valid; for research articles this includes a scientifically sound research question, the use of suitable methods and analysis, and following community-agreed standards relevant to the research field. Specific criteria for other article types can be found in the submission guidelines. _BMC series - open, inclusive and trusted_. (shrink)

This essay contends that Spinoza’s argument for the conatus doctrine does not commit any of the five fallacies of equivocation. The key to a better understanding of his argument lies in a Spinoza’s “theory of inherence” — that is, his theory of what it is to be “in” something. Spinoza’s conatus argument is a valid demonstration from Spinozistic premises about inherence, conception, causation, and related matters. These premises reflect his deep commitment to a rigorous Principle of Sufficient Reason, to a (...) conception of things as causing their own properties through their essences, and to a closely-related conception of causation as identical with or parallel to logical consequence. (shrink)

i / Introduction Interpreters Of Phenomenology frequently distinguish between two related but distinct developments of that philosophy. ...

As societies become increasingly technologised, the need for careful and critical assessment rises. However, attempts to assess or normatively evaluate technological development invariably meet with an antinomy: both structurally and historically, technologies display multistable possibilities regarding uses, effects, side effects and other outcomes. Philosophers, usually expected to play applied ethics roles, often come to the scene after these effects are known. But others who participate at the research and development stages find even more difficulties with prognosis. Recent work on ‘revenge’ (...) effects (Tenner) and negative side effects (Kevles) are examined, as well as several cases of philosophers in ‘R&D’ roles. After sketching the antinomy,I outline a heuristic pragmatics of prognosis that addresses this quandary. (shrink)

In “How to Collaborate,” Paul Thagard tries to explain why there is so much collaboration in science, and so little collaboration in philosophy, by giving an epistemic cost-benefit analysis. In this paper, I argue that an adequate explanation requires a more fully developed epistemic value theory than Thagard utilizes. In addition, I offer an alternative to Thagard’s explanation of the lack of collaboration in philosophy. He appeals to its lack of a tradition of collaboration and to the a priori nature (...) of much philosophical research. I claim that philosophers rarely collaborate simply because they can usually get the benefits without paying the costs of actually collaborating. (shrink)

I argue that spinoza's ontological argument is successful when it is understood to have two premises: (i) it is possible for god to exist, (ii) it is necessary that, if god exists, he necessarily does. the argument is valid in s5. spinoza is in a position to establish the second premise of the argument on the basis of his definitions and axioms. the first premise was assumed to be true, but, as leibniz noted, it must be established for the conclusion (...) of the argument to be forthcoming. this is one of the main problems with the argument, and it requires a solution to the problem of the attributes. certain alternate interpretations of spinoza are then argued to be deficient on textual and logical grounds. (shrink)

In cases of animal mimicry, the receiver of the signal learns the truth that he is either dealing with the real thing or with a mimic. Thus, despite being a prototypical example of animal deception, mimicry does not seem to qualify as deception on the traditional definition, since the receiver is not actually misled. We offer a new account of propositional content in sender-receiver games that explains how the receiver is misled by mimicry. We show that previous accounts of deception, (...) and of propositional content, give incorrect results about whether certain signals are deceptive. (shrink)

Long a widespread and comfortable assumption in medieval studies, the notion of “courtly love” has come under considerable attack in recent years. Beginning in the 1960s, American scholars such as D. W. Robertson, Jr., E. Talbot Donaldson, and John F. Benton sharply criticized the whole concept, suggesting that it is a “myth” of rather recent origin, that it is an impediment to understanding medieval texts, and that it ought to be banned from scholarly discourse. Being rather crude and unrefined by (...) modern intellectual standards, the original theory of courtly love was very vulnerable to such criticism. By calling it into question the Robertsonians performed a useful and salutary service to scholarship, launching a much-needed reassessment which is still going on. And yet, because these revisionist scholars accepted at face value some of the most questionable assumptions underlying the theory, their critique of it often presents a view of medieval literature and society just as distorted as that which it seeks to replace. The total effect of their intervention has thus been to confuse the issue thoroughly rather than to clarify it. (shrink)

My impulse when I decided to collect into a single volume the essays on topics in logical theory and related subjects that I have written in the last fifteen years was to borrow from the title of a work by Sextus Empiricus, and call my collection "Against the Logicians." Although the essays address a variety of problems that interest me, the thread that runs through them is a scepticism about how logicians see things. So, the title appealed to me. However, (...) I had second thoughts and chose instead a title of one of my own essays, "In Defense of Informal Logic", which emphasizes my support for other approaches. Although my criticisms of logical theory are designed to cut deeply, I do not want to be unresponsive to the needs that it is supposed to satisfy. However, my position that we have adequate resources for critically analyzing a particular argument and 00 not need a theory of argumentation, will not completely satisfy those who think that there is a need for it. So, I want them to know that I am taking their concerns seriously. (shrink)

R m hare's discussion, In "freedom and reason," fails to distinguish several senses of universalizability. The universalizability in question is not, As hare thinks, That which applies to any judgement with 'descriptive meaning,' and although moral judgements may presuppose principles, These principles need not be universal, Nor 'u-Type,' nor such that they apply to everyone, Nor such that they could be applied to anyone, Nor such that they do except individuals qua individuals--All of which are different. The most that hare (...) shows is that if we make exceptions we must have reasons for making them, Which places no restriction on what these reasons may be. (shrink)

Since the publication of Brent Berlin and Paul Kay's Basic color terms in 1969 there has been continuing debate as to whether or not there are linguistic universals in the restricted domain of color naming. In this paper I am primarily concerned with the attempt to explain the existence of basic color terms in languages. That project utilizes psychological and ultimately physiological generalizations in the explanation of linguistic regularities. The main problem with this strategy is that it cannot account for (...) a particular subset of basic color words: words that the Berlin-Kay tradition calls “composite”. The existence of such words does not compromise the claim that there are basic color words. It does suggest that such words—and basic terms in general—require a more complex type of explanatory strategy than much contemporary work on color naming supposes. It is my main contention that the central problems with the Berlin-Kay tradition arise from the difficulty of linking conceptually and empirically disparate domains: linguistic, psychological, physiological. What is needed is not an attempt to reduce color naming to biology or to culture but, rather, an adequate conceptual account of how people may come to have and use basic color terms—an account which stands between the biological and the cultural. (shrink)

It is common to view appeals to popularity as fallacious. We argue this is a mistake and that Condorcet’s jury theorem can be used to justify at least some appeals to popularity as legitimate inferences. More importantly, the conditions for the application of Condorcet’s theorem can be used as critical tools when evaluating appeals to popularity. The application of these three concepts to appeals to popularity provide a more fine-grained critical strategy for argument evaluation and, also, allow us to see (...) the real problems that often arise with such appeals more clearly. (shrink)

Expanded new edition of the landmark book demonstrating the practice of phenomenology through visual illusions and ambiguous drawings.

Frank Ebersole's extraordinary investigations of certain key philosophical ideas behind problems in epistemology and metaphysics are the subject of this article-review. I have resisted providing what many readers will expect me to provide, namely, a critical examination of his philosophical methodology. I do question his unwilligness to say why his investigations only yield I negative results, and I do have something to say about classifying him as an ordinary language philosopher. However, my main focus is on trying to engage critically (...) with what he actually does in his work. To this end, I provide a narrative of the investigation he carries out into the possibility of comparing the objects of perception and dreams, and I cite other works of his in support of my understanding of that investigation. Although one of his lengthiest essays seems to be devoted to an anticipation of an objection to his approach, I explain why even there he is not concerned with the question of why he always seems to get negative results. After suggesting why some of his later essays seem to be so hard to read, I conclude by saying something about what I take to be his achievement. (shrink)

Among the various controversies surrounding the treatise on love attributed to Andreas Capellanus, none is more vexed than the question of the work's tone. Is the De amore to be taken as a serious, straightforward treatment of its subject, or should it be interpreted, in whole or in part, as humorous or ironic? This question is of crucial importance to our understanding of the work and of its place in medieval literature — hence the considerable interest and passion it has (...) aroused. (shrink)