The Adverse Outcome Pathway (AOP) concept is a knowledge assembly and communication tool to facilitate the transparent translation of mechanistic information into outcomes meaningful to the regulatory assessment of chemicals. The AOP framework and associated knowledgebases (KBs) have received significant attention and use in the regulatory toxicology community. However, it is increasingly apparent that the potential stakeholder community for the AOP concept and AOP KBs is broader than scientists and regulators directly involved in chemical safety assessment. In this paper we (...) identify and describe those stakeholders who currently—or in the future—could benefit from the application of the AOP framework and knowledge to specific problems. We also summarize the challenges faced in implementing pathway-based approaches such as the AOP framework in biological sciences, and provide a series of recommendations to meet critical needs to ensure further progression of the framework as a useful, sustainable and dependable tool supporting assessments of both human health and the environment. Although the AOP concept has the potential to significantly impact the organization and interpretation of biological information in a variety of disciplines/applications, this promise can only be fully realized through the active engagement of, and input from multiple stakeholders, requiring multi-pronged substantive long-term planning and strategies. (shrink)

Zygmunt Bauman tells us that liquid modernity is an age of both chances and dangers. It is a paradoxical age in which our attempts ‘to relate’ to each other are thwarted by the threat of ‘being related’, our hope for collective security and togetherness at odds with our desire for individual freedom and choice. As such, it is an age in which we prefer to roam freely in virtual networks, choosing when and how to connect with others. Facilitating this form (...) of liquid life is the growing consumption and usage of new communications technology. As the starting point for a new programme of research at the Bauman Institute, this article provides a critical evaluation of the role of new technology in liquid modernity with a particular focus upon its impact upon our perception of time. Presented here as two dialectical relationships, I argue that the professed capacity of new technology to ‘connect people’ and to ‘save time’ actually result in their opposites, namely: a curiously ‘hurried life’ in which we spend much of our waking lives interacting with digital screens rather than engaging in human face-to-face contact, and in which, for all of our frenetic productivity, we are perhaps becoming more and more ‘interpassive’, running the risk of losing basic social skills in the process. (shrink)

This is the English (and extended version) of an interview originally published in Estonian in October 2018. In the interview, Simpson summarizes a particular way of defending the practice of no-platforming. The varying appeal of different defences of the practice in different socio-historical contexts (i.e. the UK/US versus a post-Soviet country such as Estonia) is discussed also.

Catherine Malabou, Antonio Negri, John D. Caputo, Bruno Bosteels, Mark C. Taylor, and Slavoj Zizek join seven others--including William Desmond, Katrin Pahl, Adrian Johnston, Edith Wyschogrod, and Thomas A. Lewis--to apply Hegel's thought to twenty-first-century philosophy, politics, and religion. Doing away with claims that the evolution of thought and history is at an end, these thinkers safeguard Hegel's innovations against irrelevance and, importantly, reset the distinction of secular and sacred. These original contributions focus on Hegelian analysis and the transformative (...) value of the philosopher's thought in relation to our current "turn to religion." Malabou develops Hegel's motif of confession in relation to forgiveness; Negri writes of Hegel's philosophy of right; Caputo reaffirms the radical theology made possible by Hegel; and Bosteels critiques fashionable readings of the philosopher and argues against the reducibility of his dialectic. Taylor reclaims Hegel's absolute as a process of infinite restlessness, and Zizek revisits the religious implications of Hegel's concept of letting go. Mirroring the philosopher's own trajectory, these essays progress dialectically through politics, theology, art, literature, philosophy, and science, traversing cutting-edge theoretical discourse and illuminating the ways in which Hegel inhabits them. (shrink)

Zygmunt Bauman tells us that liquid modernity is an age of both chances and dangers. It is a paradoxical age in which our attempts ‘to relate’ to each other are thwarted by the threat of ‘being related’, our hope for collective security and togetherness at odds with our desire for individual freedom and choice. As such, it is an age in which we prefer to roam freely in virtual networks, choosing when and how to connect with others. Facilitating this form (...) of liquid life is the growing consumption and usage of new communications technology. As the starting point for a new programme of research at the Bauman Institute, this article provides a critical evaluation of the role of new technology in liquid modernity with a particular focus upon its impact upon our perception of time. Presented here as two dialectical relationships, I argue that the professed capacity of new technology to ‘connect people’ and to ‘save time’ actually result in their opposites, namely: a curiously ‘hurried life’ in which we spend much of our waking lives interacting with digital screens rather than engaging in human face-to-face contact, and in which, for all of our frenetic productivity, we are perhaps becoming more and more ‘interpassive’, running the risk of losing basic social skills in the process. (shrink)

BackgroundCentral to ethically justified clinical trial design is the need for an informed consent process responsive to how potential subjects actually comprehend study participation, especially study goals, risks, and potential benefits. This will be particularly challenging when studying deep brain stimulation and whether it impedes symptom progression in Parkinson’s disease, since potential subjects will be Parkinson’s patients for whom deep brain stimulation will likely have therapeutic value in the future as their disease progresses.MethodAs part of an expanded informed consent process (...) for a pilot Phase I study of deep brain stimulation in early stage Parkinson’s disease, an ethics questionnaire composed of 13 open-ended questions was distributed to potential subjects. The questionnaire was designed to guide potential subjects in thinking about their potential participation.ResultsWhile the purpose of the study (safety and tolerability) was extensively presented during the informed consent process, in returned responses 70 percent focused on effectiveness and 91 percent included personal benefit as potential benefit from enrolling. However, 91 percent also indicated helping other Parkinson’s patients as motivation when considering whether or not to enroll.ConclusionsThis combination of responses highlights two issues to which investigators need to pay close attention in future trial designs: (1) how, and in what ways, informed consent processes reinforce potential subjects’ preconceived understandings of benefit, and (2) that potential subjects see themselves as part of a community of Parkinson’s sufferers with responsibilities extending beyond self-interest. More importantly, it invites speculation that a different paradigm for informed consent may be needed. (shrink)

Late in 1990, the Center for the Study of Ethics in the Professions at Illinois Institute of Technology (lIT) received a grant of more than $200,000 from the National Science Foundation to try a campus-wide approach to integrating professional ethics into its technical curriculum.! Enough has now been accomplished to draw some tentative conclusions. I am the grant's principal investigator. In this paper, I shall describe what we at lIT did, what we learned, and what others, especially philosophers, can learn (...) from us. We set out to develop an approach that others could profitably adopt. I believe that we succeeded. (shrink)

The Dispossessed has been described by political thinker Andre Gorz as 'The most striking description I know of the seductions—and snares—of self-managed communist or, in other words, anarchist society.' To date, however, the radical social, cultural, and political ramifications of Le Guin's multiple award-winning novel remain woefully under explored. Editors Laurence Davis and Peter Stillman right this state of affairs in the first ever collection of original essays devoted to Le Guin's novel. Among the topics covered in this wide-ranging, international (...) and interdisciplinary collection are the anarchist, ecological, post-consumerist, temporal, revolutionary, and open-ended utopian politics of The Dispossessed. The book concludes with an essay by Le Guin written specially for this volume, in which she reassesses the novel in light of the development of her own thinking over the past 30 years. (shrink)

There is much in Robert Pippin’s Nietzsche, Psychology, and First Philosophy that merits consideration. During the panel discussion that provided the basis for this article, I marked several paths for further exploration, including Pippin’s treatment of Nietzsche’s naturalism and his characterization of what he calls Nietzsche’s “picture arguments.” Ultimately, I chose to focus on a concern that has drawn intense interest in the recent literature, namely Nietzsche’s conception of agency and freedom, which forms the subject of Pippin’s fourth chapter, “The (...) Deed is Everything [Das Thun ist Alles].” 1 This chapter draws on and extends other work he has published in English during the past decade, specifically, his .. (shrink)

To ascribe a telos is to ascribe a norm or standard of performance. That fact underwrites the plausibility of, say, teleological theories of mind. Teleosemantics, for example, relies on the normative character of teleology to solve the problem of “intentional inexistence”: a misrepresentation is just a malfunction. If the teleological ascriptions of such theories to natural systems, e.g., the neurological structures of the brain, are to be literally true, then it must be literally true that norms can exist independent of (...) intentional and psychological agency. Davies, for one, has argued that such norms are impossible within a naturalistic worldview. Consequently, teleological theories of mind, for example, cannot be literally true. I will show, however, that the truth conditions on normative statements do not presuppose intentional and psychological agency and, further, that a selectional regime is one naturalistic mechanism that satisfies those truth conditions. Norms, then, exist in the world independent of intentional and psychological agency. (shrink)

Professor Strawson was interviewed on video on location at King's College, London during the Spring of 1992. Professor Strawson discusses his thoughts on a variety of topics on which he has written previously, providing some illuminating insights into how his thoughts has progressed. The text published here is en excerpt from this interview, translated with kind permission of Mr Rudolf V. Fara, the producer, in which prof. Strawson discusses his philosophical views with Martin Davies, Wilde Reader in Mental Philosophy (...) at Oxford University, and Mark Sainsbury, Susan Stebbing Professor of Philosophy at King's College, University of London. (shrink)

Stewart Cohen considers a case where his son wants a red table for his room. Cohen and his son go to the furniture store. Cohen’s son is concerned that the table his father is considering purchasing, which appears red, may in fact be white with red lights shining on it. Cohen responds with the following reasoning: The table looks red. The table is red. If the table is red, then it is not white with red lights shining on it. The (...) table is not white with red lights shining on it. If one reasons thus, say one’s engaged in -reasoning. Cohen finds such a response unsatisfactory. It is not a way of coming to know —it is too easy. And structurally similar reasoning delivers the falsity of sceptical hypotheses concerning the external world, testimony, other minds etc. So the unsatisfactoriness threatens to generalise. I consider Martin Davies ’s attempt to diagnose this unsatisfactoriness and find it incomplete. I then attempt to remedy the incompleteness in Davies ’s attempt. (shrink)

Stewart Cohen considers a case where his son wants a red table for his room. Cohen and his son go to the furniture store. Cohen’s son is concerned that the table his father is considering purchasing, which appears red, may in fact be white with red lights shining on it. Cohen responds with the following reasoning: The table looks red. The table is red. If the table is red, then it is not white with red lights shining on it. The (...) table is not white with red lights shining on it. If one reasons thus, say one’s engaged in -reasoning. Cohen finds such a response unsatisfactory. It is not a way of coming to know —it is too easy. And structurally similar reasoning delivers the falsity of sceptical hypotheses concerning the external world, testimony, other minds etc. So the unsatisfactoriness threatens to generalise. I consider Martin Davies’s attempt to diagnose this unsatisfactoriness and find it incomplete. I then attempt to remedy the incompleteness in Davies’s attempt. (shrink)

Artificial Neural Networks have reached “grandmaster” and even “super-human” performance across a variety of games, from those involving perfect information, such as Go, to those involving imperfect information, such as “Starcraft”. Such technological developments from artificial intelligence (AI) labs have ushered concomitant applications across the world of business, where an “AI” brand-tag is quickly becoming ubiquitous. A corollary of such widespread commercial deployment is that when AI gets things wrong—an autonomous vehicle crashes, a chatbot exhibits “racist” behavior, automated credit-scoring processes (...) “discriminate” on gender, etc.—there are often significant financial, legal, and brand consequences, and the incident becomes major news. As Judea Pearl sees it, the underlying reason for such mistakes is that “... all the impressive achievements of deep learning amount to just curve fitting.” The key, as Pearl suggests, is to replace “reasoning by association” with “causal reasoning” —the ability to infer causes from observed phenomena. It is a point that was echoed by Gary Marcus and Ernest Davis in a recent piece for theNew York Times: “we need to stop building computer systems that merely get better and better at detecting statistical patterns in data sets—often using an approach known as ‘Deep Learning’—and start building computer systems that from the moment of their assembly innately grasp three basic concepts: time, space, and causality.” In this paper, foregrounding what in 1949 Gilbert Ryle termed “a category mistake”, I will offer an alternative explanation for AI errors; it is not so much that AI machinery cannot “grasp” causality, but that AI machinery (qua computation) cannot understand anything at all. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:By Way of Interruption: Levinas and the Ethics of CommunicationDiane DavisBy Way of Interruption: Levinas and the Ethics of Communication by Amit Pinchevski Pittsburgh, PA: Duquesne University Press, 2005. 299 pp. $28.00, paper.The rush of interference that produces gaps and unsettles cognition must be seen as a force that weighs in performatively and must be read. The interruptive moment of interference itself calls for a reading.Avital Ronell, StupidityCommunity (...) is made of the interruption of singularities, or of the suspension that singular beings are. … Communication is the unworking of work that is social, economic, technical, and institutional.Jean-Luc Nancy, The Inoperative CommunityEmmanuel Levinas maintains a crucial distinction between the Said (le Dit) and the Saying (le Dire): whereas the Said names the realm of conceptual forms, themes, ideas—signified meaning—the Saying indicates a nonreferential performative intrusion that institutes, produces, transforms. Communication studies focuses almost exclusively on the Said, on the content of addressed language, but the Saying names the address as such, the opening toward the Other. When you address me, "you" simultaneously [End Page 289] give a said to be interpreted and withdraw from the interpretive context, breaking with the already said and exposing a gap or lacuna in the totalizing synchrony of representation and thematization. What is communicated in this interruption of meaningful exchange—this "rhetorical rupture," as Michael Hyde has put it—is communicability itself: a signification of signifyingness and so an exposure to exposedness. This interruption plays a critical role in the diverse philosophies of Heidegger, Derrida, Lacan, Bataille, and Blanchot, to name just a few. And for Levinas, it is the very opening of ethics. According to him, the interruption in meaning and identification involves an encounter with the Other as other (Autrui), with a surplus of alterity that I can neither appropriate nor abdicate and that therefore calls my self-sufficiency and spontaneity into question. Levinas: "We name this calling into question of my spontaneity by the presence of the Other ethics" (1969, 43).In By Way of Interruption, Amit Pinchevski offers a meticulous explication and application of Levinas's notion of the ethical relation in order to spotlight communication's nonhermeneutic, ethical dimension; he offers, that is, a rhetoric of the Saying. His book is a welcome addition to rhetorical studies and to communication theory more broadly, one that is well worth the read for anyone concerned with the intersections of communication and ethics.Noting that most every major theory of ethical communication bases itself on the presumption that better communication ("understood as the exchange of ideas, knowledge and information") leads to more understanding, which leads to "greater harmony" (6), Pinchevski instead proposes, alongside Levinas, that "the ethical possibilities in communication do not ultimately lie in its successful completion but rather in its interruption":Communication understood as the ability to reproduce meanings and effects from one mind into another is in essence an assault against the integrity of another as a distinct and singular being, as an Other. Thus, what introduces a problem for perfect communication may, in fact, be an opening for ethics insofar as there exists the possibility of encountering another as an Other.(7)Pinchevski argues that in focusing exclusively on the Said, communication studies has effectively ignored the ethical dimension of communication. It is "when there is a risk of misunderstanding, lack, and refusal of communication," he writes, that there can be "an event of communication truly worth the name." It is in the breakdown of meaningful exchange that "a [End Page 290] relation of a different kind" can expose itself, a relation "based neither on reciprocity nor on commonality, but instead on the irreducible difference between self and Other." Interruption, Pinchevski boldly states, is the "positive condition for communication" and "marks the beginning rather than the end of generosity and compassion" (7).After establishing the basic tenets of Levinasian ethics in the introduction, Pinchevski devotes the first two chapters to further explicating his specific disciplinary context (chapter 1) and to translating Levinas's ethical lexicon into this communicational framework, pointing up the ethical significance of interruption (chapter 2). In chapter 1, "The Biases of Communication," he offers a... (shrink)

Colour constancy is a foundational and yet puzzling phenomenon. Standard appearance invariantism is threatened by the psychophysical matching argument, which is taken to favour variantism. This argument, however, is inconclusive. The data at best support a pluralist view: colour constancy is sometimes variantist, sometimes invariantist. I add another potential explanation of these data, complex invariantism, which adopts an atypical six-dimensional model of colour appearance. Finally I prospect for a unifying conception of constancy among two neglected notions: discriminatory colour constancy and (...) relational colour constancy. The former arguably marks a common core capacity that is present across widely differing viewing contexts. (shrink)

Mark Richard argues for truth-relativism about claims made using gradable adjectives. He argues that truth-relativism is the best explanation of two kinds of linguistic data, which I call: true cross-contextual reports and infelicitous denials of conflict. Richard claims that such data are generated by an example that he discusses at length. However, the consensus is that these linguistic data are illusory because they vanish when elaborations are added to examples of the same kind as Richard’s original. In this paper (...) I defend the reality of Richard’s data. I show that, in trying to make their point, Richard’s critics have focused upon examples that are similar in some respects to Richard’s original but which lack a crucial feature of that original. When we ensure that this feature is in place, elaborations which make the data vanish are not possible. Richard’s critics therefore fail to show that the data generated by Richard’s original example are illusory. (shrink)

Since the emergence of cosmetic surgery at the turn of the 20th century, individuals in the US and Europe have looked to cosmetic surgery not only as a way to enhance their appearance, but also as a way to minimize or eradicate physical signs that - they believe - mark them as `different', that is, other than the dominant, or another, more desirable, `racial' or `ethnic' group. In my article, I raise the question of how such ethnic cosmetic surgery (...) might differ from other types of cosmetic surgery (such as breast augmentations for `enhancing' femininity or face-lifts to eliminate signs of aging) and, more generally, whether ethnic cosmetic surgery raises different normative or ethical issues. After a brief foray into the history of cosmetic surgery and its connections with racial science, I turn to the current practice of ethnic cosmetic surgery, situating it in contemporary political controversies about race and beauty. I draw upon the case of Michael Jackson - arguably the best known recipient of this kind of cosmetic surgery - in order to analyze how cosmetic surgery for people of color or for the `ethnically marginalized' is framed in a discourse of `race' and the consequences this framing has for feminist thinking about embodiment and embodied identity. Finally, I return to the relative ease or unease that cosmetic surgery evokes among its critics. (shrink)

In this essay I examine the idea that evil is to be understood as a kind of absence or a privation. I put forward two arguments against this idea. The first claims that if evil is an absence it becomes causally powerless, which seems strongly contradicted by experience and revelation. The other argument says that the idea that evil is an absence cannot do justice to the evil of depression. Depression is a set of feelings which are all too real, (...) and so cannot be understood as literally identical with a set of absences. (shrink)

On 26 January 2021, while announcing that the country had reached the mark of 100,000 deaths within 28 days of COVID-19, UK Prime Minister Boris Johnson said that he took “full responsibility for everything that the Government has done” as part of British efforts to tackle the pandemic. The force of this statement was undermined, however, by what followed: -/- What I can tell you is that we truly did everything we could, and continue to do everything that we (...) can, to minimise loss of life and to minimise suffering... -/- Taking these sentiments together, it was hard to avoid the conclusion that the government took responsibility only for doing everything right. Such an admission of responsibility, accommodating no admission of error or wrongdoing, is not really about responsibility at all. Indeed, the UK’s pandemic response has been marked from its earliest days by a shifting of focus from institutional responsibility to personal responsibility for individual UK residents. -/- This paper explores the relationship between these two sites of responsibility—the institutional and the personal—in the context of the sort of pandemic that is ongoing as we write. Section 2 offers some initial definitions and discussions of key terms. Section 3 outlines how these two ideas interact in principle during such emergencies. Section 4 turns to the ‘non-ideal’ implications for personal responsibility of failures of institutional responsibility. While our focus is on the specific context with which we are most familiar, the UK governmental approach, where appropriate we also include examples from other states. (shrink)

Can new technology enhance purpose-driven, democratic dialogue in groups, governments, and societies? Online Deliberation: Design, Research, and Practice is the first book that attempts to sample the full range of work on online deliberation, forging new connections between academic research, technology designers, and practitioners. Since some of the most exciting innovations have occurred outside of traditional institutions, and those involved have often worked in relative isolation from each other, work in this growing field has often failed to reflect the full (...) set of perspectives on online deliberation. This volume is aimed at those working at the crossroads of information/communication technology and social science, and documents early findings in, and perspectives on, this new field by many of its pioneers. -/- CONTENTS: -/- Introduction: The Blossoming Field of Online Deliberation (Todd Davies, pp. 1-19) -/- Part I - Prospects for Online Civic Engagement -/- Chapter 1: Virtual Public Consultation: Prospects for Internet Deliberative Democracy (James S. Fishkin, pp. 23-35) -/- Chapter 2: Citizens Deliberating Online: Theory and Some Evidence (Vincent Price, pp. 37-58) -/- Chapter 3: Can Online Deliberation Improve Politics? Scientific Foundations for Success (Arthur Lupia, pp. 59-69) -/- Chapter 4: Deliberative Democracy, Online Discussion, and Project PICOLA (Public Informed Citizen Online Assembly) (Robert Cavalier with Miso Kim and Zachary Sam Zaiss, pp. 71-79) -/- Part II - Online Dialogue in the Wild -/- Chapter 5: Friends, Foes, and Fringe: Norms and Structure in Political Discussion Networks (John Kelly, Danyel Fisher, and Marc Smith, pp. 83-93) -/- Chapter 6: Searching the Net for Differences of Opinion (Warren Sack, John Kelly, and Michael Dale, pp. 95-104) -/- Chapter 7: Happy Accidents: Deliberation and Online Exposure to Opposing Views (Azi Lev-On and Bernard Manin, pp. 105-122) -/- Chapter 8: Rethinking Local Conversations on the Web (Sameer Ahuja, Manuel Pérez-Quiñones, and Andrea Kavanaugh, pp. 123-129) -/- Part III - Online Public Consultation -/- Chapter 9: Deliberation in E-Rulemaking? The Problem of Mass Participation (David Schlosberg, Steve Zavestoski, and Stuart Shulman, pp. 133-148) -/- Chapter 10: Turning GOLD into EPG: Lessons from Low-Tech Democratic Experimentalism for Electronic Rulemaking and Other Ventures in Cyberdemocracy (Peter M. Shane, pp. 149-162) -/- Chapter 11: Baudrillard and the Virtual Cow: Simulation Games and Citizen Participation (Hélène Michel and Dominique Kreziak, pp. 163-166) -/- Chapter 12: Using Web-Based Group Support Systems to Enhance Procedural Fairness in Administrative Decision Making in South Africa (Hossana Twinomurinzi and Jackie Phahlamohlaka, pp. 167-169) -/- Chapter 13: Citizen Participation Is Critical: An Example from Sweden (Tomas Ohlin, pp. 171-173) -/- Part IV - Online Deliberation in Organizations -/- Chapter 14: Online Deliberation in the Government of Canada: Organizing the Back Office (Elisabeth Richard, pp. 177-191) -/- Chapter 15: Political Action and Organization Building: An Internet-Based Engagement Model (Mark Cooper, pp. 193-202) -/- Chapter 16: Wiki Collaboration Within Political Parties: Benefits and Challenges (Kate Raynes-Goldie and David Fono, pp. 203-205) -/- Chapter 17: Debian’s Democracy (Gunnar Ristroph, pp. 207-211) -/- Chapter 18: Software Support for Face-to-Face Parliamentary Procedure (Dana Dahlstrom and Bayle Shanks, pp. 213-220) -/- Part V - Online Facilitation -/- Chapter 19: Deliberation on the Net: Lessons from a Field Experiment (June Woong Rhee and Eun-mee Kim, pp. 223-232) -/- Chapter 20: The Role of the Moderator: Problems and Possibilities for Government-Run Online Discussion Forums (Scott Wright, pp. 233-242) -/- Chapter 21: Silencing the Clatter: Removing Anonymity from a Corporate Online Community (Gilly Leshed, pp. 243-251) -/- Chapter 22: Facilitation and Inclusive Deliberation (Matthias Trénel, pp. 253-257) -/- Chapter 23: Rethinking the ‘Informed’ Participant: Precautions and Recommendations for the Design of Online Deliberation (Kevin S. Ramsey and Matthew W. Wilson, pp. 259-267) -/- Chapter 24: PerlNomic: Rule Making and Enforcement in Digital Shared Spaces (Mark E. Phair and Adam Bliss, pp. 269-271) -/- Part VI - Design of Deliberation Tools -/- Chapter 25: An Online Environment for Democratic Deliberation: Motivations, Principles, and Design (Todd Davies, Brendan O’Connor, Alex Cochran, Jonathan J. Effrat, Andrew Parker, Benjamin Newman, and Aaron Tam, pp. 275-292) -/- Chapter 26: Online Civic Deliberation with E-Liberate (Douglas Schuler, pp. 293-302) -/- Chapter 27: Parliament: A Module for Parliamentary Procedure Software (Bayle Shanks and Dana Dahlstrom, pp. 303-307) -/- Chapter 28: Decision Structure: A New Approach to Three Problems in Deliberation (Raymond J. Pingree, pp. 309-316) -/- Chapter 29: Design Requirements of Argument Mapping Software for Teaching Deliberation (Matthew W. Easterday, Jordan S. Kanarek, and Maralee Harrell, pp. 317-323) -/- Chapter 30: Email-Embedded Voting with eVote/Clerk (Marilyn Davis, pp. 325-327) -/- Epilogue: Understanding Diversity in the Field of Online Deliberation (Seeta Peña Gangadharan, pp. 329-358). -/- For individual chapter downloads, go to odbook.stanford.edu. (shrink)

This year marks the 10th anniversary of the Female Genital Mutilation Act 2003.1 i The Act makes it an offence for any person to excise, infibulate or otherwise mutilate the whole or any part of a female's labia majora, labia minora or clitoris, or to aid, abet, counsel or procure the mutilation by another person. The exception is where a surgical or obstetric procedure is clinically indicated. There has long been UK legalisation against female genital mutilation but the 2003 Act (...) extended the criminal offence to UK nationals and permanent residents who are overseas, including in countries where the practice is legal. A person found guilty of an offence under the Act can be imprisoned for up to 14 years.Precise figures for the number of girls and women who have undergone, or who are at risk of FGM, in the UK, are hard to establish because of the secrecy surrounding the practice. It is estimated, however, that over 21 000 girls under the age of 15, in England and Wales, are at high risk of FGM.2 Despite this prevalence, recent clinical and policy guidelines3,4 and the legislative framework to prosecute, there have been no prosecutions for FGM in the UK. Worryingly, there is a suggestion that some girls are being brought to the UK for FGM, as the UK is seen as having ‘fewer controls’ and ‘less awareness about FGM’. A recent quote in the BMJ noted ‘People from many countries in Europe go to the UK for this purpose’.5In response to the lack of prosecutions, in November 2012, the Crown Prosecution Service launched an action plan for improving prosecutions. Action points include: gathering more robust data on allegations of FGM; raising with Ministers what the existing reporting …. (shrink)

Horn (1989) identified a number of irregular or marked negations that are not used in accordance with the standard rule of propositional logic. He concluded that negation was pragmatically ambiguous. Van der Sandt (1991) disputed Horn’s ambiguity claim, and proposed a uniform semantics for all negations. I will provide an informal explanation of van der Sandt’s theory, and develop a number of objections. I show that irregular negations are not anaphoric, as Van der Sandt believes, but compositional. I argue for (...) Geurts’s (1998) view that there are several different rules for irregular negations. I reject the implicature theory in favor of the semantic ambiguity thesis. (shrink)

I argue that modal terms have an epistemic interpretation on which concessive knowledge attributions are semantically contradictory. This is compatible with the fallibilist view that the basis on which we know something need not entail it, but not with the view that what is known need not be epistemically certain or necessary. The apparent contradictoriness of concessive knowledge attributions is not due to mere implicature, nor to assertion updating the modal base. And it is contextually invariant. Concessive knowledge attributions contrast (...) markedly with concessive assertions and Moorean conjunctions, whose infelicity is plausibly due to norms of assertion. I briefly explain why the strict fallibilism I recommend is compatible with our ordinary use of ‘know,’ and with our knowing much on the basis of perception. Its contextual shiftiness closely parallels our variably strict use of temporal and other invariant terms with strict application conditions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning from Examples of Civic Responsibility:What Community-Based Art Centers Teach Us about Arts EducationJessica Hoffmann Davis (bio)Introduction/QuestionThroughout the United States, beyond school walls, there struggles and soars a sprawling field of community art centers dedicated to education.1 Most frequently clustered on either coast in bustling urban communities, these centers provide arts training that enriches or exceeds what is offered in schools. They serve artists who need space for work (...) or performance, students who crave instruction and direction, and the broader community that enjoys attendant cultural enrichment. At the core, they create safe havens for arts learning that has been marginalized elsewhere.Unfettered by the demands and constraints of school administrations, these self-designed centers have been of considerable interest to arts education researchers over the last twenty years.2 Largely conceived and staffed by artists, they demonstrate artful alternatives to mainstream education: creative visions of teaching, learning, and assessment. Moreover, the positive impact these centers have had on students considered at risk across a number of variables has caught the attention of researchers looking for better ways to serve our youth.3The location of these centers beyond school walls, like their operation beyond the hours of the school day, would naturally seem to cast them as positive opportunities for extending arts learning that goes on in school. But with school art curricula scarce or in danger of elimination, supplementary options can seem threatening to school arts specialists. Administrators have regarded the opportunities that outside artists and centers provide as sufficient substitutes for a school-based course of sequential instruction in the arts. While vital funding sources encourage and sustain collaboration, a tension persists between the autonomy of outsider arts centers and the integrity [End Page 82] of insider school arts programs. For students disenfranchised from schools, the "otherness" of centers has a certain cachet. For centers unable to afford their own space, school classrooms in after-school hours offer a home base for their offerings and easy access for students. The back and forth across school walls raises opportunities and concerns that have resulted in a range of creative solutions.4 But my interest here is not in the cross-wall meeting of services, but rather in the differences in arts learning on either side of school walls. In the pages that follow, I pose the question, What can schools learn from the arts education provided in the community?In addressing this question, I first mark the differences between arts learning in schools and in the community as a need for justification versus an opportunity for demonstration. I then describe the research from which my thinking and discussion draw and offer a brief overview of the history of community art centers as inspired by and illustrative of civic responsibility. With an eye to what educators and advocates can learn from these community-based efforts, I focus next on three common objections to prioritizing the arts in our schools: value, measurement, and autonomy. Each objection is introduced from a school-based perspective and then reconsidered in light of community-based attitudes and activities.5 In conclusion, I delineate the insights derived from a consideration of community arts education as stimulus for the redirection of educational objectives and advocacy rationales for arts learning in schools.Justification vs. DemonstrationIn its struggle for recognition and place in school settings, arts education has sought justification in terms of its potential to serve the broader educational scene. We ask of classes that provide mounting skills in visual arts, music, or theater, "Yes, but what else does arts learning do? Can it improve student skills in reading, mathematics, or any other subjects that are more traditionally valued?" Such demands may seem unfair. When has math ever been defended for its ability to improve arts performance? Beyond a sense of injustice, claims for arts learning's causal impact on measurable extraneous outcomes (such as improvements in test scores in nonarts academic subjects) are at best most difficult to prove.6In community centers where art is the chosen heart of the matter, students come specifically to study the arts and to benefit from their enhancement of more generalized experience... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 1-6 [Access article in PDF] Once Again, This Time with Feeling Stephen Davies The arbitrariness of so many virtuosos is partly responsible for the excess of expression marks to be found in the works of composers who thus hoped to forestall distortion and misinterpretation. Yet, complete control over the performer is not only impossible but also undesirable. The only remedy is (...) to improve the education of performers in matters of musical style and taste. The most common fault is the application of a Romantic, that is, a highly expressive treatment of non-Romantic music, such as the works of Bach, Mozart, Beethoven. The deplorable result is an overdoing of all nuances: the use of prestissimo instead of allegro, of larghissimo instead of adagio, of fff and ppp instead of f and p, of frequent crescendi and decrescendi instead of an even level of sonority, of numerous rubatos, ritardandos, and accelerandos instead of strictly kept tempo, etc. In view of all these tendencies nothing seems to be more important for the student than to learn to play without expression. Only the pianist who has learned to play Bach's Chromatic Fantasia or Beethoven's Apassionata in the most rigid way will be able to add that amount of nuances and shades which these works properly require.1 Prelude How does the performer communicate the emotional expressiveness imparted by the composer to his music? The response to this question will depend on one's view of performance. For Western works specified notationally(to which I will restrict the following discussion), a plausible position regards musical performance as analogous to quotation. The performer's task and intention is, by following the composer's score, to repeat or re-create an "utterance" made originally by the composer, and, thereby, to convey what he meant by it. The response will depend also on one's theory as regards the manner in which music is expressive of emotion. [End Page 1] Expressive Performance as Feeling or Simulation One such account, known as the expression theory, has it that music is expressive of an emotion just in case the composer experienced that emotion and gave vent to it through the act of composition; the work, his "utterance," betrays what he felt. In that case, the performer's task is to quote the composer's utterance in a manner that betrays the same emotion. Rather than merely mouthing what he says, she will invest it with the passion that would be typical of someone's giving direct expression to his or her experience of the relevant emotion. She might adopt either of two approaches to this end. Like the "method" actor, she might induce an equivalent emotion in herself and affirm what she quotes as an expression of her own feeling, this being one she shares with the composer. Or she might simulate the expression of the appropriate emotion. She articulates the composer's utterance as if she felt what he did.According to the arousal theory, music is expressive of a given emotion just in case the audience is aroused to an experience of that emotion as a consequence of listening to and following the music. In that case, the performer's goal is to move the auditor to an appropriate emotional response by "quoting" the composer. One of the most compelling ways of doing so would be by eliciting an empathetic reaction. Provided the performer demonstrates the appropriate feeling with sufficient ardor, she can rely on the natural human sympathy of the audience to kindle in them a reaction echoing her own emotion. Accordingly, she should proceed as already described, either by inciting herself to the appropriate emotion and showing it in her manner of playing, or, at least, by acting if she is in the grip of that emotion, even if she is not.There are grounds for rejecting both the emotivist and the arousal theories of musical expressiveness, but independent of those reasons, it should be apparent that what these accounts imply about the manner of performing music expressively is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 1-6 [Access article in PDF] Once Again, This Time with Feeling Stephen Davies The arbitrariness of so many virtuosos is partly responsible for the excess of expression marks to be found in the works of composers who thus hoped to forestall distortion and misinterpretation. Yet, complete control over the performer is not only impossible but also undesirable. The only remedy is (...) to improve the education of performers in matters of musical style and taste. The most common fault is the application of a Romantic, that is, a highly expressive treatment of non-Romantic music, such as the works of Bach, Mozart, Beethoven. The deplorable result is an overdoing of all nuances: the use of prestissimo instead of allegro, of larghissimo instead of adagio, of fff and ppp instead of f and p, of frequent crescendi and decrescendi instead of an even level of sonority, of numerous rubatos, ritardandos, and accelerandos instead of strictly kept tempo, etc. In view of all these tendencies nothing seems to be more important for the student than to learn to play without expression. Only the pianist who has learned to play Bach's Chromatic Fantasia or Beethoven's Apassionata in the most rigid way will be able to add that amount of nuances and shades which these works properly require.1 Prelude How does the performer communicate the emotional expressiveness imparted by the composer to his music? The response to this question will depend on one's view of performance. For Western works specified notationally(to which I will restrict the following discussion), a plausible position regards musical performance as analogous to quotation. The performer's task and intention is, by following the composer's score, to repeat or re-create an "utterance" made originally by the composer, and, thereby, to convey what he meant by it. The response will depend also on one's theory as regards the manner in which music is expressive of emotion. [End Page 1] Expressive Performance as Feeling or Simulation One such account, known as the expression theory, has it that music is expressive of an emotion just in case the composer experienced that emotion and gave vent to it through the act of composition; the work, his "utterance," betrays what he felt. In that case, the performer's task is to quote the composer's utterance in a manner that betrays the same emotion. Rather than merely mouthing what he says, she will invest it with the passion that would be typical of someone's giving direct expression to his or her experience of the relevant emotion. She might adopt either of two approaches to this end. Like the "method" actor, she might induce an equivalent emotion in herself and affirm what she quotes as an expression of her own feeling, this being one she shares with the composer. Or she might simulate the expression of the appropriate emotion. She articulates the composer's utterance as if she felt what he did.According to the arousal theory, music is expressive of a given emotion just in case the audience is aroused to an experience of that emotion as a consequence of listening to and following the music. In that case, the performer's goal is to move the auditor to an appropriate emotional response by "quoting" the composer. One of the most compelling ways of doing so would be by eliciting an empathetic reaction. Provided the performer demonstrates the appropriate feeling with sufficient ardor, she can rely on the natural human sympathy of the audience to kindle in them a reaction echoing her own emotion. Accordingly, she should proceed as already described, either by inciting herself to the appropriate emotion and showing it in her manner of playing, or, at least, by acting if she is in the grip of that emotion, even if she is not.There are grounds for rejecting both the emotivist and the arousal theories of musical expressiveness, but independent of those reasons, it should be apparent that what these accounts imply about the manner of performing music expressively is... (shrink)

This paper is about the work of a long forgotten philosopher and his views which have surprising relevance to discussions in present-day philosophy of mind and cognitive science. I argue that, far from being a traditional idealist, Mitchell advanced a very subtle position best seen as marking a transition from idealist views and later materialist accounts, the latter popularly attributed to Australian philosophers in the second half of the 20th century.

This is a study of the syntax and semantics of reports containing speech-act and propositional attitude verbs with quotational complements. I make the case that while the quotational complements of some verbs, including _utter_, are nominal and metalinguistic, those of others, including _assert_ and _believe_, are clausal and nonmetalinguistic. Quotational reports with ‘say’ are ambiguous. When quotational complements are clausal, they are like _that_-clauses in being subordinate content clauses with main-clause form. Unlike _that_-clauses, quote-clauses force deictic shift and are unambiguously (...) opaque. I also argue that quotation marks serve a different function in “mixed” reports, and that use of the traditional “direct” and “indirect” is not consistent with their traditional definitions. (shrink)

In a recent discussion of my "Foetuses, Famous Violinists, and the Right to Continued Aid", Mark Strasser argues (in effect) that I misunderstood my own argument and am therefore not entitled to conclude that, assuming the foetus to be a person with the same rights as you or I, abortion (even to end rape-caused pregnancy) cannot be justified in the way Judith Thomson attempted in her wellknown paper.' I don't believe I misunderstood my argument. What I propose to do (...) here is to clarify it, especially the distinction between 'dependence' and 'reliance', and to show that Strasser's criticism is plainly mistaken. (shrink)

Alan Tomhave and Mark Vopat have argued that organized boycotts against the expressive acts of companies and their leaders are pro tanto morally wrong because they constitute an attempt to silence voices in the marketplace of ideas. I argue that such boycotts are not best viewed as attempts to silence, but rather as a morally permissible form of withdrawal of support of certain expressive acts.

In lieu of an abstract, here is a brief excerpt of the content:191 A PERSONAL ELEMENT IN MORALITY In his quest for the truth about moral life, Hume steers between the Scylla of Sentiment and the Charybdis of Reason. Sentiment operating alone, as a basis for morality, would threaten to engulf humanity with as many relativistic moral truths as there are individuals. Reason alone would produce objective, impersonal truths, but these would be powerless to move us. Hume's developed theory ingeniously (...) shows how Reason and Sentiment can operate together, to produce judgments based on feelings which are nonetheless impersonal and objective (T 581-584; E 227-229). Hume is acutely aware (as we shall see below) that there exists a considerable disparity between the impartiality required of us by moral theory and what in practice people think when it comes to moral matters. There would seem to be only two ways of accommodating this fact. One is to regard the disparity as a mark of the moral mediocrity of ordinary people; we are not as objective in our judgments as we could be. The other way is to treat the disparity as a token of failure and inadequacy in the theory; our best philosophical reasoning about morals fails to capture its subject matter without distortion. Our rational powers fall short, not only in Book I of the Treatise, where the task is to explain the foundation of our beliefs, but also in Book III, where Hume attempts to elucidate moral life. Certainly the first way would reduce the gap to some extent; some people, perhaps many, are moral truly low achievers. I want to show that Hume also suggests the second way; he is willing to deflate the 192 pretensions of philosophy, even when it comes to his own state-of-the-art efforts. I. The Objectivity of Certain Feeling-Based Judgments In the moral arena of life we make judgments which are based on feelings, on 'certain sentiments of pleasure or disgust' (T 581). "To have the sense of virtue, is nothing but to feel a satisfaction of a particular kind from the contemplation of a character" (T 471). Of course not just any feeling will do; it must be of a peculiar kind, which we can experience only under specific conditions. At first Hume characterizes the necessary condition as follows: 'Tis only when a character is considered in general, without reference to our particular interest, that it causes such a feeling or sentiment, as denominates it morally good or evil (T 472). Later on Hume provides a fuller account. Characteristically he elaborates in response to an anticipated objection. The objection is that our sympathetic feelings of pleasure and pain fluctuate wildly, depending mainly upon our distance, so to speak, from the character we assess, in space, time, and kind of relationship. Our moral judgments do not vary in this way; we give the same approbation to the same moral qualities in China as in England (T 581). So (it is concluded) our moral judgments do not rest upon sympathy. Hume's response is that, as a necessary condition for moral judgment and communication, we must "fix on some steady and general points of view" (T 581-2). He proceeds to employ an analogy with our situation regarding perception of (and communication about) the things which make up our common world. 193 Here a man obviously cannot consider things 'only as they appear from his peculiar point of view' (T 581). For instance I cannot describe my desk to a friend by reporting on how I perceive it at this moment — because at this moment the light is dim and I am standing across the room from the desk. If I were to do a painting of the scene before me, the desk would be black, its top a trapezoid shape on the canvas. What I say, however, is that I have a walnut desk of a medium brown color and it has a rectangular top. I say, in effect, how the desk would look under standard conditions of light and perspective. In the Enquiry version Hume spells out his analogy more fully. Again he addresses the case in which our sentiments, e.g., about two men, one distant and... (shrink)

One hundred eighty trauma-focused dissertations published in the United States were examined to determine the variation in risk language used in the informed consents. Level of risk proposed in the informed consents was poorly related to ratings of risk by graduate coders and virtually unrelated to vulnerability factors such as the age of participants and clinical or nonclinical status. Risk language in the informed consents was markedly elevated over that rated by the coders, with more than one third of the (...) dissertations presenting the risk of participation as severe (i.e., associated with substantial risk of reactivity and lasting discomfort). These statements are not in keeping with the literature and raise ethical concerns in relation to (a) nocebo effects, (b) distortion of correlational findings, and (c) discouragement of participants from disclosing trauma in other settings. (shrink)

Howard Robinson’s “revised causal argument” for the sense-datum theory of perception combines elements from two other arguments, the “original” causal argument and the argument from hallucination. Mark Johnston, however, has argued that, once the nature of the object of hallucinatory experience is properly addressed, the errors in hallucination-based arguments for conjunctivist views of perception like the sense-datum theory become apparent. I outline Robinson’s views and then consider the implications of Johnston’s challenge for the revised causal argument.

This is a review of Susan Greenfield's 2015 book 'Mind Change: How Digital Technologies Are Leaving Their Mark On Our Brains'. Greenfield is a neuroscientist and a member of the UK House of Lords, who argues that digital technologies are changing the human environment "in an unprecedented way," and that by adapting to this environment, "the brain may also be changing in an unprecedented way." The book and its author have created a surprising amount of controversy. I discuss both (...) Greenfield's book and a prominent critique by Bell et al. (2015). The exchange points to some flaws in Greenfield's argument and represents an interesting debate about the public role of scientists, but it does not undermine the value of the book as a springboard for discussions about possible policies and future research. (shrink)

In part 4 of Meaning, Expression, and Thought, Davis rejects what he calls Fregean ideational theories, according to which the meaning of an expression is an idea; and then presents his own account, which states that, e.g., the meaning of ‘Primzahl’ in German is the property of meaning prime number. Before casting doubt on the latter ontology of meanings, I come to Frege’s defence by pointing out that he was not an advocate of the position Davis named after him because (...) Fregean senses are not lexical meanings and Fregean thoughts are not types of mental events. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XXIII, Number 2, November 1997, pp. 227-244 Hume on Geometry and Infinite Divisibility in the Treatise H. MARK PRESSMAN Scholars have recognized that in the Treatise "Hume seeks to find a foundation for geometry in sense-experience."1 In this essay, I examine to what extent Hume succeeds in his attempt to ground geometry visually. I argue that the geometry Hume describes in the Treatise faces a (...) serious set of problems. Geometric Lines Hume maintains that ideas "are images" (T 6) which may be called up "when I shut my eyes" (T 3). "That we may fix the meaning of a word, figure," according to Hume, "we may revolve in our mind the ideas of circles, squares, parallelograms, triangles of different sizes and proportions, and may not rest on one image or idea" (T 22). As Arthur Pap notes, "'Idea' is in Hume's usage synonymous with 'mental image'." D.C.G. MacNabb also notes that "Hume thought of ideas as images, and primarily as visual images."2 When Hume argues, then, that "we have the idea of indivisible points, lines and surfaces conformable to the [geometer's] definition" (T 44), he is arguing that we have mental images of geometry's points, lines and planes. Consider geometric lines first. Geometers define a line "to be length without breadth or depth" (T 42). It is not apparent to everyone that we have mental images of such lines. According to "L'Art de penser" (T 43), published in 1662, it is impossible "to conceive a length without any breadth" (T 43). H. Mark Pressman is at the Department of Philosophy, University of California, Davis, 1238 Social Sciences and Humanities Building, Davis CA 95616-8673 USA. email: [email protected] 228 H. Mark Pressman We can only by an abstraction "consider the one without regarding the other" (T 43). Hume, however, offers "clear proof" (T 44), in the form of two arguments, that we actually possess ideas or mental images of geometry's lines. First, we have ideas or mental images of lengths with breadth, though these are supposed never to be without breadth and thus not geometric lines. (A mental image oflength is also a mental image with length, just as "to say the idea of extension agrees to any thing, is to say it is extended" [T 240].) Hume reduces to absurdity the view that our mental images of length are always with breadth and thus not images of geometric lines. If our length-images were always with breadth, then our mental images would be endlessly divisible in breadth, since they would always have some positive breadth (T 43). But no mental image is endlessly divisible, for the mind arrives "at an end in the division of its ideas, nor are there any possible means of evading the evidence of this conclusion" (T 27). We thus have an idea or image of length without (divisible) breadth conforming to the geometer's definition (T 44). Second, we can imagine or picture the termination of a geometric plane. But a geometric plane must terminate in a geometric line (T 44). (Proof: Assume L is a line with breadth which terminates plane P. Since L has breadth, L must contain at least two parts, w and y, exactly one of which actually terminates P. But whether it is w or y, L doesn't terminate P, which was the assumption.) Since we can picture the termination of a geometric plane, we can picture a geometric line, length without divisible breadth. It is one thing to have ideas or mental images of geometric lines which may be called up "when I shut my eyes" (T 3). It is another for such objects actually to exist "in nature." The conceptualist holds that though (a) geometry 's points, lines and planes are ideas, nevertheless (b) there are no such things in nature and that (c) there can't be such things in nature: [T]he objects of geometry... are mere ideas in the mind, and not only never did, but never can exist in nature. They never did exist; for no one will pretend to draw a line or make a... (shrink)

New scholarship paves the way for Earth-loving spirituality grounded in the ancientChristian image of God as an avian life form.

The COVID-19 pandemic has raised a host of ethical challenges, but key among these has been the possibility that health care systems might need to ration scarce critical care resources. Rationing p...

Suppose that John has a moral obligation to stop smoking given that smoking is dangerous to his health. Suppose further that smoking is dangerous to his health. Does it follow that John has a moral obligation to stop smoking? Although intuition inclines one to answer in the affirmative, recent developments in deontic logic apparently call this inference into question. The issue at hand is whether unconditional obligations are detachable from conditional obligations on the basis of purely factual considerations. I believe (...) that they are not. In the course of arguing for this position I defend a novel restricted rule of detachment which is constructed out of both factual and normative components. (shrink)