Although young children might be uncertain about the nature of certain representations, most modern adults would explicitly maintain that photographs have no ongoing physical connection the objects that they depict. We demonstrate here in three studies that destruction of a photograph of a sentimental object produces significantly more electrodermal activity than destruction of photographs of other control objects. This response is not attributable to anxiety about being observed whilst destroying the picture, nor is it entirely due to simple visual association (...) ‐ the same response occurs when the photograph does not resemble the object. We suggest that this effect may reflect a tacit acceptance of “sympathetic magic”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:George J. Leonard EMERSON, WHITMAN, AND CONCEPTUAL ART The widespread abandoning of the art object at the end of the 1960s was taken as something radically, even frighteningly, new, by critics and artists alike. Objects, concept artist Joseph Kosuth was asserting by 1969, are "irrelevant" to art. Though an artist might choose, as in the past, to "employ" objects, "all art is finally conceptual." In fact it was (...) now time that the object, nothing more than the "physical residue" of the artist's mental activity, was dispensed with.1 "We / open our eyes and ears seeing life / each day excellent as it is," John Cage chanted: "This / realization no longer needs art...."2 Aestheticians as disparate as Murray Krieger and Harold Rosenberg reacted to this "transfiguration of the commonplace," as Arthur Danto has called it. Danto has gained a wide scholarly audience for his ideas about the 1960s as "the end of art," or at least as the beginning of "post-historical art."3 We know from such works as Renato Poggioli's TL· T^ry oftL· Avant-Garde that, in this century, particular movements have routinely declared themselves to be art's climax.4 Critics like Jacques Barzun and artists like Amedee Ozenfant had been saying for years that art was exhausted. Yet conceptualism's attack on the object struck most critics as something both alarming and new: Irving Sandler wrote in a special edition of the College Art Association's Art Journal devoted to the problem that it demolished "every notion of what art should be,"5 and Murray Krieger feared that this "leap beyond Pop Art" would "complete the obliteration of the realm of art, its objects, its museums...."6 But the conceptualist attacks on the art object were, in fact, not new. One can find attacks as scathing in Emerson and Whitman; so scathing, that criticism has rarely taken them seriously. The attacks the concep297 298Philosophy and Literature tualists mounted in the 1960s were only the culmination ofan intellectual tendency which appeared throughout the West one hundred and sixty years before. It has long been a scholarly commonplace that after 1800 an "intellectual tendency"—as M. H. Abrams finallytermed it—extolling the possibilities of this world emerged in all parts of Western culture. When itappears in literature we nowusually call it, withAbrams, Natural Supernaturalism; or, with Harold Bloom, the "visionary company." Man, Wordsworth decreed, can and must learn to find "Paradise" in "the common day."7 Surprisingly litde work has been done on what happened when this intellectual tendency, Natural Supernaturalism, confronted the art object. Emerson and Whitman can stand for many who were necessarily ill at ease with the idea of art objects as elite objects superior to the common things it was their mission to extol. Wordsworth works before these two; Ruskin develops similar ideas into greater complexity; but since Emerson writes clear expository prose and avoids fanciful terminology, he makes a good place to enter this dark wood. Let us begin with some straightfor-ward, overdue interdisciplinary history, reading Emerson on the art object, noticing similar passages in Whitman, and noting where Emerson has reworked Hegel for his own ends. For Emerson objects are but thought's "inert effect," as for the concept artist Kosuth they would be but the "physical residue" of the artist's activity. Emerson and Kosuth, opposite Shakespeare, do not applaud the art process as the giving to an airy nothing a local habitation and a name; rather they disdain the stuff as petrifactions, as dead mud footprints left by living thoughts diat have raced away.8 In his essay "Circles," Emerson derides our admiration for a work of architecture, directing us to the "litde waving hand" that built it, for "that which builds is better than that which is built." By the same logic, the invisible thoughts which truly wrought the object were even better than the hand and "nimbler."9 When such passages are discussed at all, they are usually considered Platonic,10 but, in his essay "Art," Emerson envisions a use for art objects Plato would have blinked at. For the time being, art objects have a particular "office" to fill. That office, Emerson wrote in... (shrink)

Many researchers and intellectuals warn about extreme risks from artificial intelligence. However, these warnings typically came without systematic arguments in support. This paper provides an argument that AI will lead to the permanent disempowerment of humanity, e.g. human extinction, by 2100. It rests on four substantive premises which it motivates and defends: first, the speed of advances in AI capability, as well as the capability level current systems have already reached, suggest that it is practically possible to build AI systems (...) capable of disempowering humanity by 2100. Second, due to incentives and coordination problems, if it is possible to build such AI, it will be built. Third, since it appears to be a hard technical problem to build AI which is aligned with the goals of its designers, and many actors might build powerful AI, misaligned powerful AI will be built. Fourth, because disempowering humanity is useful for a large range of misaligned goals, such AI will try to disempower humanity. If AI is capable of disempowering humanity and tries to disempower humanity by 2100, then humanity will be disempowered by 2100. This conclusion has immense moral and prudential significance. (shrink)

In this paper, Leonard Waks investigates connections between listening and expertise or mastery, contrasting approaches from Eastern and Western philosophy. The first section accounts for listening in the Daoist classic Zhuangzi, a work addressing themes in Chinese philosophy through metaphor and story narratives. In one story a character named “Confucius” advises a student to fast the mind and listen recklessly. The affinity between reckless and what has been called “apophatic” listening is demonstrated by the shared feature of mental emptiness (...) — listening without the imposition of conceptual categories. The second section demonstrates close affinities between the account of listening and expertise or mastery in the Zhuangzi and in the account of expert perception in contemporary Western philosophy and psychology, as exemplified by phenomenologist Hubert Dreyfus. (shrink)

Classic analysis of the subject and the development of personal probability; one of the greatest controversies in modern statistcal thought.

The annual cost of healthcare in the United States reached $2.5 trillion in 2009 (about 17.6% of GDP) with projections to 2019 of about $4.5 trillion (about 20% of likely GDP).

Presented as a Vorlesung in the German philosophical tradition, this book presents the most detailed account of Nelson's method of argument analysis, celebrated by many luminaries such as Karl Popper. It was written in 1921 in opposition to the relativistic, subjectivistic and nihilistic tendencies of Nelson's time. The book contains an exposition of a method that is a further development of Kant's transcendental dialectics, followed by an application to the critical analysis of arguments by many famous thinkers, including Bentham, Mill, (...) Poincaré, Leibniz, Hegel, Einstein, Bergson, Rickert, Simmel, Brentano, Stammler, Jellinek, Dingler, and Meinong. The book presents a general theory of philosophical argumentation as seen from the viewpoint of the typical fallacies committed by anybody arguing philosophically, whether professional philosophers or philosophical laypeople. Although the nature of philosophy and philosophical argumentation is one of the most recurrent objects of reflection for philosophers, this book represents the first attempt at a general theory of philosophical fallacy. According to Nelson, it is in the shape of false dilemmas that errors in reasoning always emerge, and false dilemmas are always the result of the same mechanism--the unwitting replacement of one concept for another. (shrink)

Explores the continuities and discontinuities in the work of Henri Bergson and Gilles Deleuze.

Untruthfulness is surprisingly common in the U.S. military even though members of the profession are loath to admit it. Further, much of the deception and dishonesty that occurs in the profession of arms is actually encouraged and sanctioned by the military institution. The end result is a profession whose members often hold and propagate a false sense of integrity that prevents the profession from addressing -- or even acknowledging -- the duplicity and deceit throughout the formation. It takes remarkable courage (...) and candor for leaders to admit the gritty shortcomings and embarrassing frailties of the military as an organization in order to better the military as a profession. Such a discussion, however, is both essential and necessary for the health of the military profession"--Publisher's web site. (shrink)

Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...

In this chapter, I take up the question of whether one of the central principles of jus ad bellum – just cause – is relevant in a world in which cyberattacks occur. I argue that this principle is just as relevant as ever, though it needs modification in light of recent developments. In particular, I argue, contrary to many traditional just war theorists, that just cause should not be limited to physical attacks. In the process, I offer an improved definition (...) of cyberattack and show how some other principles of jus ad bellum constrain this widened notion of just cause. (shrink)

L'esprit des Lumières du xvii-xviiie siècle, celui de la raison, de la science, de l'humanisme et du progrès - par opposition à l'obscurantisme, a conduit à l'émergence de connaissances scientifiques disruptives - même en ce qui concerne les fondements de la Société - et indiscutables pour quiconque fait appel à sa raison. Il a ainsi induit de nombreuses transformations dans tous les secteurs de la Société.Aujourd'hui, les technologies numériques, par l'observation de phénomènes invisibles - qui seraient impossibles sans elles - (...) ont déjà induit une multitude de pratiques perturbatrices. Comme cet effet et ses inévitables implications continuent de s'accélérer dans le futur, leur intégration dans la progression de la Société et de l'entreprise est maintenant absolument impérative.Ce livre a pour objet de faire ressortir l'intelligence de la progression de la Société ou de l'entreprise en permettant à l'intelligence du vivre ensemble (Sciences humaines), à l'intelligence des solutions (Sciences exactes) et à l'intelligence de l'artificiel (Sciences de l'ingénieur, y compris le numérique), de se relier entre elles par l'intelligence informationnelle des services. Une telle connexion est établie grâce à la science des services. Elle constitue la base des Lumières informationnelles. (shrink)

_Explores the continuities and discontinuities in the work of Henri Bergson and Gilles Deleuze._.

The annual cost of healthcare in the United States reached $2.5 trillion in 2009 (about 17.6% of GDP) with projections to 2019 of about $4.5 trillion (about 20% of likely GDP).

In Transcendent Love: Dostoevsky and the Search for a Global Ethic, Leonard G. Friesen ranges widely across Dostoevsky's stories, novels, journalism, notebooks, and correspondence to demonstrate how Dostoevsky engaged with ethical issues in his times and how those same issues continue to be relevant to today's ethical debates. Friesen contends that the Russian ethical voice, in particular Dostoevsky's voice, deserves careful consideration in an increasingly global discussion of moral philosophy and the ethical life. Friesen challenges the view that contemporary (...) liberalism provides a religiously neutral foundation for a global ethic. He argues instead that Dostoevsky has much to offer when it comes to the search for a global ethic, an ethic that for Dostoevsky was necessarily grounded in a Christian concept of an active, extravagant, and transcendent love. Friesen also investigates Dostoevsky's response to those who claimed that contemporary European trends, most evident in the rising secularization of nineteenth-century society, provided a more viable foundation for a global ethic than one grounded in the One, whom Doestoevsky called simply "the Russian Christ." Throughout, Friesen captures a sense of the depth and sheer loveliness of Dostoevsky's canon. Dostoevsky was, after all, someone who believed that the ethical life was sublimely beautiful, even as it recklessly embraced suffering and unreasonably forgave others. The book will appeal to both students and scholars of Russian literature and history, comparative ethics, global ethics, and cultural studies, and togeneral readers with an interest in Dostoevsky. "Others have written about Dostoevsky's ethics, but I am not aware of any single-authored, sustained attempt to make the case for Dostoevsky's 'transcendent love' as part of a larger discussion of a global ethic. Moreover, Leonard Friesen presents his case in an engaging and highly accessible form. He believes passionately that Dostoevsky is deeply relevant to the discussion; his commitment rings through the pages and draws the reader in. In this way, his essay makes an original contribution to Dostoevsky studies that will appeal to scholars in a variety of disciplines and to educated lay readers with ethical concerns about the path of modernity, as well as to the many fans of Dostoevsky's work." --Russell Hillier, Providence College. (shrink)

'A truly revolutionary idea.... Clear, tight, disciplined, beautifully structured, and brilliantly reasoned.'--Ayn Rand. Self-sacrifice, oriental mysticism, racial 'truth,' the public good, doing one's duty -- these are among the seductive catchphrases that circulated in pre-Nazi Germany. Objectivist author and philosopher Leonard Peikoff was Ayn Rand's long-time associate. In The Cause of Hitler's Germany -- previously published in The Ominous Parallels -- Peikoff demonstrates how unreason and collectivism led the seemingly civilized German society to become a Nazi regime.

This is a book about aesthetics that is both a memoir and design critique. Among questions it addresses are: What inspires an aesthetic adventure? What is the best way to respond to ugliness? Is beauty always "good"? What is the crux of an artist's job? Why is "making nothing" beautiful? And what is a "beautiful human being"? The illustrator is Marco Koren, a young Californian artist with a passion for drawing.

What impact are we having on the environment around us? How can we limit the effect of human life on the natural world? These questions and more are considered in 'Advances in Sustainability and Environmental Justice' volume 13, which looks at environmental philosophy, humanity's place in the world, and how we can live in harmony with our planet.

The Global Ethic is the set of basic principles of right and wrong which in fact are found in all the major, and not so major, religions and ethical systems of the world, past and present. It does not go beyond the existing commonalities. However, this de facto existing broad basic agreement on ethical principles, unfortunately, is largely unknown by most religious and ethical persons. If they were aware of this commonality, that would provide a broad basis for serious dialogue (...) and collaboration among the adherents of all the religions and ethical systems of the world. Lacking that awareness, far too often different religions and ethical systems foster destructive, rather than constructive, relations. Hence, it is vital to foster a conscious knowledge of the de facto existing Global Ethic. The Movement for a Global Ethic - drafting of a Universal Declaration of a Global Ethic and promoting knowledge and practice - was launched in 1991. Where did the idea of a movement for a Universal Declaration of a Global Ethic come from? New ideas, new movements, don't just appear out of thin air. When "integrating" forces pointing toward something "new" gradually gather below the conscious level, they slowly reach a critical point, and then suddenly a "new" idea will "precipitate," like the "quality of mercy, which droppeth as the gentle rain from heaven upon the place beneath." Thus, it also happened with the Movement for a Global Ethic. In this book, Dr. Leonard Swidler and 11 colleagues propose their perspectives on the Global Ethic from the vantage points of various religions. (shrink)

La tradizione filosofica occidentale identifica di norma l'ingiustizia con l'assenza di quelle proprietà ideali che definiscono una società come perfettamente giusta. Ma cosa impedisce di pensare all'ingiustizia in altri termini rispetto alla pura e semplice assenza di giustizia? Muovendo da questo interrogativo, il libro sviluppa un'originale prospettiva teorica per affrontare alcune delle questioni più urgenti che assillano le società contemporanee. Il baricentro dell'analisi si sposta infatti sulle asimmetrie di potere che offendono la dignità di milioni di esseri umani su scala (...) globale. Sui mali comuni della crudeltà fisica, dell'umiliazione simbolica, del dominio culturale, economico e politico. È la negazione pratica di queste ingiustizie a definire l'idea di giustizia, rappresentando così la migliore premessa teorica per la costruzione conflittuale di una società più giusta. Prefazione di Pier Paolo Portinaro. (shrink)