This book provides practical and research-based chapters that offer greater clarity about the particular kinds of teacher reflection that matter and avoids talking about teacher reflection generically, which implies that all kinds of reflection are of equal value.
Retrospective rule-making has few supporters and many opponents. Defenders of retrospective laws generally do so on the basis that they are a necessary evil in specific or limited circumstances, for example to close tax loopholes, to deal with terrorists or to prosecute fallen tyrants. Yet the reality of retrospective rule making is far more widespread than this, and ranges from ’corrective’ legislation to ’interpretive regulations’ to judicial decision making. The search for a rational justification for retrospective rule-making necessitates a reconsideration (...) of the very nature of the rule of law and the kind of law that can rule, and will provide new insights into the nature of law and the parameters of societal order. This book examines the various ways in which laws may be seen as retrospective and analyses the problems in defining retrospectivity. In his analysis Dr Charles Sampford asserts that the definitive argument against retrospective rule-making is the expectation of individuals that, if their actions today are considered by a future court, the applicable law was discoverable at the time the action was performed. The book goes on to suggest that although the strength of this ’rule of law’ argument should prevail in general, exceptions are sometimes necessary, and that there may even be occasions when analysis of the rule of law may provide the foundation for the application of retrospective laws. (shrink)
In the fusillade he lets fly against Foss (1984), Bourgeois (1987) sometimes hits a live target. I admit that I went beyond the letter of van Fraassen's The Scientific Image (1980), making inferences and drawing conclusions which are often absurd. I maintain, however, that the absurdities must be charged to van Fraassen's account. While I cannot redress every errant shot of Bourgeois, his essay reveals the need for further discussion of the concepts of the phenomena and the observables as (...) used by van Fraassen. (shrink)
This new anthology includes both classic and contemporary readings on the methods and scope of science. Jeffrey Foss depicts science in a broadly humanistic context, contending that it is philosophically interesting because it has reshaped nearly all aspects of human culture—and in so doing has reshaped humanity as well. While providing a strong introduction to epistemological and metaphysical issues in science, this text goes beyond the traditional topics, enlarging the scope of philosophical engagement with science. Substantial introductions and critical (...) questions are provided for each reading. (shrink)
Does the real difference between non-consequentialist and consequentialist theories lie in their approach to value? Non-consequentialist theories are thought either to allow a different kind of value (namely, agent-relative value) or to advocate a different response to value ('honouring' rather than 'promoting'). One objection to this idea implies that all normative theories are describable as consequentialist. But then the distinction between honouring and promoting collapses into the distinction between relative and neutral value. A proper description of non-consequentialist theories can only (...) be achieved by including a distinction between temporal relativity and neutrality in addition to the distinction between agent-relativity and agent-neutrality. (shrink)
This paper considers the question of whether predictions of wrongdoing are relevant to our moral obligations. After giving an analysis of ‘won’t’ claims (i.e., claims that an agent won’t Φ), the question is separated into two different issues: firstly, whether predictions of wrongdoing affect our objective moral obligations, and secondly, whether self-prediction of wrongdoing can be legitimately used in moral deliberation. I argue for an affirmative answer to both questions, although there are conditions that must be met for self-prediction to (...) be appropriate in deliberation. The discussion illuminates an interesting and significant tension between agency and prediction. (shrink)
In his book, The Scientific Image, van Fraassen lucidly draws an alternative to scientific realism, which he calls "Constructive Empiricism". In this epistemological theory, the concept of observability plays the pivotal role: acceptable theories may be believed only where what they say solely concerns observables. Van Fraassen develops a concept of observability which is, as he admits, vague, relative, science-dependent, and anthropocentric. I draw out unacceptable consequences of each of these aspects of his concept. Also, I argue against his assumption (...) that "empirical adequacy" is the same thing as "saving the phenomena", according to his sense of the expressions. (shrink)
Given that the mind is the brain, as materialists insist, those who would understand the mind must understand the brain. Assuming that arrays of neural firing frequencies are highly salient aspects of brain information processing (the vector functional account), four hurdles to an understanding of the brain are identified and inspected: indeterminacy, micro-specificity, chaos, and openness.
Physicalism is an empirical theory of the mind and its place in nature. So the physicalist must show that current neuroscience does not falsify physicalism, but instead supports it. Current neuroscience shows that a nervous system is what I call a vector function system. I provide a brief outline of the resources that empirical research has made available within the constraints of the vector function approach. Then I argue that these resources are sufficient, indeed apt, for the physicalist enterprise, by (...) offering a vector functional, hence physicalist, theory of the percept--the perceptual experience itself, a paradigm of phenomenally immediate, introspectively accessible consciousness. (shrink)
Like everyone with a scientific bent of mind, Dennett thinks our capacity for meaningful language and states of mind is the product of evolution (Dennett [1987, ch. VIII]). But unlike many of this bent, he sees virtue in viewing evolution itself from the intentional stance. From this stance, ?Mother Nature?, or the process of evolution by natural selection, bestows intentionality upon us, hence we are not Unmeant Meaners. Thus, our intentionality is extrinsic, and Dennett dismisses the theories of meaning of (...) Dretske, Fodor, Burge, Putnam, and Kripke on the grounds that each requires that our mental states, unlike those of artifacts, have meaning intrinsically. I argue that we are Unmeant Meaners, incidentally defending Dretske et al., though my goal is to test the explanatory virtue of the intentional stance as applied to the evolution of intentionality. (shrink)
An examination of the early history of Nobel Committee deliberations, coupled with a survey of discoveries for which prizes have been awarded to date – and, equally revealing, discoveries for which prizes have not been awarded – reveals a pattern. This pattern suggests that Committee members may have internalized the received, biomedical model and conferred awards in accord with the physicalistic premises that ground this model. I consider the prospect of a paradigm change in medical science and the possible repercussions (...) of such a change on the distribution of Nobel prizes within the domain of physiology or medicine. For expository purposes, I contrast a model based on a science of pathophysiology with one based on a science of pathopsychophysiology. I propose a means whereby members might minimize the potentially blinding effects of model-dependence and come to evaluate medical discoveries from an inter-model rather than an exclusively intra-model perspective. By bringing to light questions rarely asked and proposing answers, I seek to open a dialogue and furnish a vehicle by which the putative delimiting effects of model-dependence might be overcome. (shrink)
Mele desires to believe that the self-deceived have consistent beliefs. Beliefs are not observable, but are instead ascribed within an explanatory framework. Because explanatory cogency is the only criterion for belief attribution, Mele should carefully attend to the logic of belief-desire explanation. He does not, and the consistency of his own account as well as that of the self-deceived, are the victims.
Thesis: Art like science radically affects our perceiving and thinking, and the two are substantially alike in that together--along with an inherited "natural" language system with which they overlap--they enable us to articulate the world. Science has been advanced as the measure of all things: scientific realism. By implication, art pertains to beauty, science truth. Science effects conceptual break-throughs, changes our models of natural order. On the contrary (I argue), as a nonverbal symbol system art similarly affects paradigm-induced expectations. Substantively (...) there is no difference in the way each enables us to articulate or measure the world: symbolic realism. The myth of resemblance as a criterion of representation--imitation as a one-one relation--has, at least since the time of Plato, obscured this truth. Once the distinction between representational and nonrepresentational art falls, the true nature of artist (like scientist) as maker is illumined. The artist, the scientist (disciplinarian), the cosmologist (those responsible for the formulation of so-called natural languages--in time all of us) make the world or, what practically amounts to the same thing, the known, perceived world. This is the claim of the symbolic realist. Is symbolic realism itself only a watershed? What implication does this critique have for assessing the role of the philosopher today? (shrink)
This paper examines today's received scientific medical model with respect to its ability to satisfy two conditions: (1) its explanatory adequacy relative to the full range of findings in the medical literature, including those indicating a correlation between psychosocial variables and disease susceptibility; and (2) the fit between its physicalist patient and disease concepts and what today's basic sciences, so-called sciences of complexity, tell us about the way matter, notably complex systems (e.g. patients), behave and the nature of scientific explanation. (...) I conclude that the received (biomedical) model falls short on both counts and to satisfy these conditions is to articulate a formal successor model. This successor must be guided by premises consistent with the findings and methods of today's basic sciences on which an applied science like medicine depends for its validity. Additionally, the successor model must be able to explain (and predict) the full range of clinical findings, both those that its predecessors explains and at least some of those that it does not. The aim of the paper is to identify such a model. (shrink)
Gintis assumes the behavioral (=social) sciences are in disarray, and so proposes a theory for their unification. Examination of the unity of the physical sciences reveals he misunderstands the unity of science in general, and so fails to see that the social sciences are already unified with the physical sciences. Another explanation of the differences between them is outlined. (Published Online April 27 2007).
I address the issue of justifiable profits from distinct perspectives in economics, strategy research and ethics. Combining insights from Austrian economics, the resource-based perspective, and finders, keepers ethics, I argue that strategy is about the discovery of hitherto unexploited possibilities for exchange. To the extent that strategy is about the discovery/creation ex nihilo of products, ways of producing products, etc., the resulting profits are argued to be justifiable from a finders, keepers perspective.
Behrendt's & Young's (B&Y's) persuasive scientific theory explains hallucinations, and is supported by a wide variety of psychological evidence, both normal and abnormal – unlike their philosophical thesis, Kantian idealism. I argue that the evidence cited by the authors in support of idealism actually favors realism. Fortunately, their scientific theory is separable from their philosophy, and is methodologically consistent with realism.
Although the first three dimensions of evolution outlined by Jablonka & Lamb (J&L) are persuasively presented as aspects of evolutionary science, the fourth dimension, symbolic evolution, is problematic: Though it may in some metaphorical sense be happening, there cannot be a science of symbolic evolution. Symbolic evolution essentially involves meaning, which, besides being nonphysical, resolutely resists scientific categorization.
Because the reciprocal theory of Mazur & Booth dominates the static basal model, given the evidence they present, it is worth considering the implications for women's equality, supposing it true. Testosterone might well give males a competitive edge, and hence higher status, creating an inequality that mere social legislation would be ill-suited to address. Further research on the role of testosterone is needed.
Despite the heat of their attack, Saunders & van Brakel do illuminate various shortcomings of color research in the tradition of Berlin & Kay. Berlin and Kay elicit a pan-cultural pattern in color language, but the pattern does not provide much insight into the human mind.
Quartz & Sejnowski's main accomplishment is the presentation of increasing complexity in the developing brain. Although this cuts a colorful swath through current theories of learning, it leaves the central question untouched: How does the environment direct neural structure? In answer, Q&S offer us only Hebb's half-century-old suggestion once again.
The contributors to two new anthologies A Mind of One's Own: Feminist Essays on Reason and Objectivity and Feminist Epistemologies are philosophers for whom feminism is an intellectual as well as political commitment and they produce original, valuable feminist and philosophical work. I focus on differences between the anthologies and on two themes: the social character of knowledge and the allegedly oppressive "masculinism" of epistemological ideals.
As one tries to grasp love and its images within José Leonilson's production, a multiplicity of aspects and meanings are seen that also relate to Louise Bourgeois's oeuvre in regard to the interest in human relations. Through a comparative approach to both artists' poetics, an understanding is created that love is not a simplistic action and all the words read in or applied to their visual discourse must be considered within a wide range of love in visual and literary (...) images. Keywords: literature and visual arts / love / creativity / Bourgeois, Louise / Leonilson, José / word and image. (shrink)
We provide a 'verisimilitudinarian' analysis of the well-known Linda paradox or conjunction fallacy, i.e., the fact that most people judge the probability of the conjunctive statement "Linda is a bank teller and is active in the feminist movement" (B & F) as more probable than the isolated statement "Linda is a bank teller" (B), contrary to an uncontroversial principle of probability theory. The basic idea is that experimental participants may judge B & F a better hypothesis about (...)Linda as compared to B because they evaluate B & F as more verisimilar than B. In fact, the hypothesis "feminist bank teller", while less likely to be true than "bank teller", may well be a better approximation to the truth about Linda. (shrink)
Linda Trinkaus Zagzebski believes that a comprehensive moral theory can be constructed by identifying moral exemplars and by investigating (to put it very roughly) what it is that makes them tick. We identify moral exemplars by direct reference to persons we admire "upon reflection." Moral exemplars are persons like that. Two emotions will play a central role in this type of moral theory: admiration, and its opposite, contempt. Zagzebski's theory proceeds by rough analogy with a physical theory that identifies (...) instances of water and then goes on to investigate the physical make-up of the natural kind, water. But an even better comparison, as she says, is to a community of linguistic users which identifies various instances of tigers, say, and then goes on to investigate the (possibly evolving) referent of the species-term "tiger." Zagzebski provides an engaging, illuminating, and deeply human discussion of how the details of this exemplarist approach, with its investigation into the psychological make up of moral exemplars, might be developed. (shrink)
One of the most characteristic features of Comparative Literature in terms of methodological practice is that of operating in “in between” spaces. Not only does this feature suggest the comparative approach as something which originates through movement, thus making it imperative for the researcher to deal with the notion of mobility, it also characterizes many of the concepts with which it operates. Considering the possibility, as well as the fertility, of practicing this methodology in the analysis and critique of contemporary (...) visual art, we understand that it fits the analysis of any enterprise regarding the in-betweens of visual and verbal texts. These fundamental aspects were elected for a comparative analysis of two visuals artists whose œuvres operate in in-between spaces between the visual and the verbal as much as between the self and the Other. José Leonilson (Brazil 1957-1993) and Louise Bourgeois (France/EUA 1911-2010) reveal, through a comparative analysis, creative and constitutive actions which elaborate a space we could best understand through the image of a seaside landscape where the line we try to draw to divide the saltwater from the sand never stands. But, in what manners could the constituted poetic space created by them be of significance for a broader spectrum than the literary interest? In our understanding, Leonilson’s and Bourgeois’s poetics operate through a silent hearing of the Other, might that be their loved ones, the stone or cloths. This conceptual notion, required for the creative action, thus establishes a particular notion of balance between them and the Other. It is this precise aspect that also operates the mobility of the notion of love through their œuvre, and through the election of personal emotional narratives as the thriving force for creation. And what could be more needed nowadays, here as elsewhere, than considering together with Leonilson’s and Bourgeois’ images that love shall be the perpetual moving space that at times nears, and later distances us from each other? (shrink)
The contributors to two new anthologies A Mind of One's Own: Feminist Essays on Reason and Objectivity (edited by Louise Antony and Charlene Witt) and Feminist Epistemologies (edited by Linda Alcoff and Elizabeth Potter) are philosophers for whom feminism is an intellectual as well as political commitment and they produce original, valuable feminist and philosophical work. I focus on differences between the anthologies and on two themes: the social character of knowledge and the allegedly oppressive "masculinism" of epistemological (...) ideals. (shrink)
Louise Labé est-elle une femme? Et pourquoi l’œuvre serait-elle inauthentique autrement? Le petit drame critique engendré par un ouvrage de Mireille Huchon pose la question du rapport de l’œuvre à son auteur, ou l’Auteur comme instance et valeur. Une définition restreinte du lyrisme comme expression personnelle et sincère est corollairement mise en cause. L’émotivité du débat reflète l’angoisse de perdre une autorité féminine mythique. Le soupçon d’inauthenticité révèle aussi notre moment théorique en interrogeant l’articulation entre lyrisme et codes « (...) genrés ». On fait cependant bien parler en français une courtisane gauloise dans tous les sens, apte à rivaliser avec Laure et l’Italie…. (shrink)
The twentieth century began with the deconstruction of the image, as it is ending with the effort to restore it. Cubism, dada, and abstract expressionism took apart what, in their various ways, pop art, magic realism, and neoexpressionism have tried to put back together. Tonality in music and narrative in literature have undergone similar change.1 What has been at stake in each case has been the redefinition of a center, a normative or ordering principle as such. Yeats intuited this general (...) phenomenon in his famous observation that “the center cannot hold,” and though whether one applauds or, with Yeats, condemns the result, it is undeniable that the crisis of contemporary culture has been in large part experienced as a deprivation of norms.This sense of deprivation has been most apparent in the plastic arts. The fashioning of images has been one of the primary impulses of human art. It has been the basis of most systems of visual representation and constitutes the earliest record we have off art itself. Its loss or abandonment has been in good part responsible for the bewilderment and hostility much of the general public continues to express toward modern art.The experience of this loss, however, has not been confined to the public alone. For many artists, the sense of modern art’s expressive potential has been tempered by an anxiety about its ultimate direction.2 For these artists, the image had not been transcended but rather rendered inaccessible, and implicitly or explicitly they sought its restoration. At the same time, they were keenly aware that there could be no return to exhausted modes of representation, no looking back except as parody or quotation.3 1. Among the studies comparing changes across the arts in the early twentieth century are Georges Edouard Lemaître, From Cubism to Surrealism in French Literature , and Bram Dijkstra, The Hieroglyphics of a New Speech: Cubism, Stieglitz, and the Early Poetry of William Carlos Williams . More recently, visualization in cubist art and relativity theory has been compared in Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art . For a general overview, see Stephen Kern, The Culture of Time and Space, 1880-1918 . Marxist critics, notably Walter Benjamin, have long insisted on the relationship between modernism in the arts and the crisis of the traditional order.2. This is clearly visible in the work and writing of pioneers such as Kandinsky and Klee or, to take a later case, Adolph Gottlieb. The correspondence between Kandinsky and Schönberg is illuminating as well.3. Much of the neoimagistic art of the past twenty-five years falls into these categories, and thus signals a prolongation rather than a resolution of the crisis. Pop art was clearly an art of parody, while work of an artist such as Malcolm Morley might almost be taken as an illustration of Benjamin’s thesis about the work of art in an age of mechanical reproduction. His “imitations,” like those of Robert Lowell in verse, betray a deep anxiety about mastery and tradition. Much the same can be said for such musical compositions as Lukas Foss’ “Baroque Variations” and “Phorion” or Luciano Berio’s “Sinfonia,” to name but a random few among many. Robert Zaller is professor of history and head of the department of history and politics at Drexel University. He was formerly on the faculties of Queens College , the University of California at Santa Barbara, and the University of Miami. His books include The Parliament of 1621: A Study in Constitutional Conflict and The Cliffs of Solitude: A Reading of Robinson Jeffers. (shrink)