Suicide is a leading cause of death in the United States and in many other parts of the world. As such, suicide is frequently framed as a medical and public health problem for which solutions are best recommended by medical and public health authorities. While, medicalized suicide prevention strategies often resonate with traditional Christian commitments to preserve life and to discourage suicide, there is little evidence to date that medical approaches to suicide risk-reduction decrease population rates of suicide. Further, by (...) treating suicide as a phenomenon that can be eliminated through technical managerial control, modern suicide prevention efforts construe suffering persons as carriers of risk best managed by standardized and often dehumanizing environments of care. This emphasis on the medical management of risk also erodes the clinician–patient relationship and inappropriately centers medical (e.g., systematic health screenings) rather than non-medical (e.g., access to housing) forms of response. Although, medicalized suicide prevention efforts should not be dismantled, those working to prevent suicide would do well to prioritize a positive commitment to human dignity and worth and to engage social and political systems beyond medicine and public health, while drawing on specific contributions that clinicians can offer. (shrink)

Shareholders are sometimes considered to be, in moral terms, the owners of a company, they are after all the carriers of the residual liabilities and bear a higher proportion of the financial risk. However, in company law, the shareholders’ responsibility is limited, and in financial terms shareholders are only liable up to the fully paid value of the share certificate. Moreover, when the shares are sold, the responsibility and risk are transferred completely to the new bearer of the shares. Whether (...) this gap in moral and legal perceptions can be judged to be satisfactory in business ethics terms is a moot point and will be partly explored in this case study which seeks to analyse the shareholder’s responsibility towards a firm in which they own shares. The case study company chosen as a vehicle to explore these issues is that of Turner & Newall; a company that subjected its employees, communities and customers to a major health hazard – asbestosis. This paper will use the Turner & Newall archive materials to illustrate the moral hazards that can arise for shareholders. In particular it will examine the ethical responsibilities of shareholders towards those stakeholders who were exposed to the dangers of asbestos. This case is a significant test of the veracity of the legal system of company control, and exposes the ineffectiveness of that system in accountability terms. The case study also deals with specific issues that arose in the asbestos crisis, as well as with more general issues in our present system of corporate governance and shareholder responsibilities. (shrink)

Transdisciplinarity includes the assumption that within new institutional settings, scientific research becomes more closely responsive to practical problems and user needs and is therefore often subject to considerable application pressure. This raises the question whether transdisciplinarity affects the epistemic standards and the fruitfulness of research. Case studies show how user-orientation and epistemic innovativeness can be combined. While the modeling involved in all cases under consideration was local and focused primarily on features of immediate practical relevance, it was informed by theoretical (...) insights from basic research. Conversely, industrial research turns out sometimes to produce theoretical understanding. These findings highlight an interactive relationship between science and technology (moderate emergentism), which is distinct from the traditional view of a one-sided dependence of technology on science (cascade model) and from the newly received independence account (emergentism). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Artforum, Andy Warhol, and the Art of Living:What Art Educators Can Learn from the Recent History of American Art WritingDavid Carrier (bio)When around 1980 I began writing art criticism, Artforum was much concerned with historical analysis.1 When presenting the work of younger painters and sculptors, it seemed natural to explain artists' accomplishments by identifying precedents for their work. Much of my criticism published in the 1980s presented post-formalist (...) accounts of abstract painting. Seeking precedents for the painting I admired, I looked to the history of art. But such pleas for the value of tradition were doomed. Commentators preaching the values of tradition lost out to the writers emphasizing a break with the past. Much of interest for art education can be learned by studying the history of this very influential, small circulation journal.Only in retrospect did the urgency of this felt need for a break with the past become apparent. The history of responses to Abstract Expressionism suggested a different way of thinking about moments of change. HaroldRosenberg's conception of "action painting" implied that Pollock broke dramatically with the past. Clement Greenberg, by contrast, in a famous phrase said: "I do not think it exaggerated to say that Pollock's 1946-1950 manner really took up Analytic Cubism from the point at which Picasso and Braquehad left it...in their collages of 1912 and 1913."2 Greenberg's counter-intuitive analysis, asking us to see very different looking paintings as essentially similar, had prevailed. So it was not unreasonable to expect that after Greenberg, concern with tradition would remain important. But that was not what happened.Demand for a break with the past often carries political overtones. Historians debate whether the French Revolution broke with the past, or merely developed trends of the old regime. The idea of a complete break with tradition can seem attractive, but of course such dramatic ways of thinking underestimate real continuities. Struggle among post-Greenbergian artwriters to define a new critical paradigm mimics conflicts among artists to define the [End Page 1] leading post-Abstract Expressionist tradition. Once a critical paradigm has been established, debate may proceed peacefully. But when defining a period style is at issue, the stakes are high, and so conflicts are ferocious. Of course, struggle is always accompanied also by co-operation, but failing to grasp the real role of conflict leads to all-too-pious visions of what is possible.Greenberg developedthe most influential critical approach, and so when his way of thinking was rejected, a radically different approach was of most interest. Here we are dealing with what Harold Bloom famously called the anxiety of influence. Just as the most interesting painting after Abstract Expressionism deconstructed that tradition, so in criticism no ways of thinking too similar to Greenberg's stood a chance of being important. I think it interesting to reconstruct the process rationally in which an individual obtains such power. A totem, Freud explains, is "an animal (whether edible and harmless or dangerous and feared) and more rarely a plant or a natural phenomenon (such as rain or water), which stands in a peculiar relation to the whole clan."3 The communion bread and wine are just bread and wine, but for the believer they become Christ's body and blood. Rationally speaking, a representational painting is just pigment on canvas; and a minimalist sculpture, just shaped metal. But in what Arthur Danto calls the "transfiguration of the commonplace," "a work of art...has qualities to attend to which its untransfigured counterpart lacks...We are dealing with an altogether different order of things."4 Greenberg became a totem. He was not just an important writer whose arguments entitled him to reasonable respect. The mere mention of his name invoked irrational fears.Greenberg was obsessed with tradition. Abstract Expressionism was rooted in early modernism, so that the era from Manet through Pollock defined a period style. Greenberg's historiography may seem inescapable. How can a young painter be understood except by seeking precedents for her achievement? Cannot the now famous artists who emerged in the 1980s be understood in these terms? Barbara Kruger comes out of John Heartfield and dada... (shrink)

In “Truth by Convention” W.V. Quine gave an influential argument against logical conventionalism. Even today his argument is often taken to decisively refute logical conventionalism. Here I break Quine’s arguments into two— the super-task argument and the regress argument—and argue that while these arguments together refute implausible explicit versions of conventionalism, they cannot be successfully mounted against a more plausible implicit version of conventionalism. Unlike some of his modern followers, Quine himself recognized this, but argued that implicit conventionalism was explanatorily (...) idle. Against this I show that pace Quine’s claim that implicit conventionalism has no content beyond the claim that logic is firmly accepted, implicit rules of inference can be used to distinguish the firmly accepted from the conventional. As part of my case, I argue that positing syntactic rules of inference as part of our linguistic competence follows from the same methodology that leads contemporary linguists and cognitive scientists to posit rules of phonology, morphology, and grammar. The upshot of my discussion is a diagnosis of the fallacy in Quine’s master critique of logical conventionalism and a re-opening of possibilities for an attractive conventionalist theory of logic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators (...) to make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and (...) was preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

In _Ontological Terror_ Calvin L. Warren intervenes in Afro-pessimism, Heideggerian metaphysics, and black humanist philosophy by positing that the "Negro question" is intimately imbricated with questions of Being. Warren uses the figure of the antebellum free black as a philosophical paradigm for thinking through the tensions between blackness and Being. He illustrates how blacks embody a metaphysical nothing. This nothingness serves as a destabilizing presence and force as well as that which whiteness defines itself against. Thus, the function (...) of blackness as giving form to nothing presents a terrifying problem for whites: they need blacks to affirm their existence, even as they despise the nothingness they represent. By pointing out how all humanism is based on investing blackness with non-Being—a logic which reproduces antiblack violence and precludes any realization of equality, justice, and recognition for blacks—Warren urges the removal of the human from its metaphysical pedestal and the exploration of ways of existing that are not predicated on a grounding in Being. (shrink)

The philosophical treatment of space and time has had a long history. This continuing interest stems not least from the fact that space and time form the basis of movement. Space-time philosophy encompasses a wide range of subjects, many of which, on first inspection, do not seem to have anything to do with space and time. Space-time philosophy is a matter of causality and probability, the Big Bang and Heat Death. It is a matter of the origins of each term (...) s meaning and the inability to experience space-time theory first hand. It is a matter of Achilles and the turtle, as well as, Maxwell s demon. In dealing with space-time, one does not deal solely with space and time. ". (shrink)

This Introduction to the Special Issue on “Responsible Research and Innovation” outlines features of the philosophical debate about the concepts involved and summarizes the papers assembled in this issue. The topic of RRI is widely discussed in science studies and has made its way into science policy. This SI is intended to make the contributions of philosophers of science more visible. The philosophically relevant parts of the field concern, among others, the processes of public participation in science and their impact (...) on the knowledge produced, the notion of justified public trust in science, and the idea of research pursued for the common good. Such topics bring social procedures together with epistemic and ethical considerations and thus raise philosophical challenges. RRI is subject to the tension between committing research to creating knowledge in harmony with public expectations, on the one hand, while not complying with public wishful thinking, on the other. RRI embodies a friction between serving people’s aspirations and correcting people’s expectations. This special issue is intended to explore the narrow pathway left between these conflicting demands. (shrink)

In a paper published in this Journal, Hans Radder argues that a detailed analysis of the degenerating phase of Bohr's programme reveals the basic incorrectness of Lakatos' own reconstruction of this period. Furthermore the corrected version shows the impossibility to account for the development in Lakatosian concepts. In this reply I try to point out that a slight modification of Lakatos' reconstruction is sufficient for reconciling the theory with the historical data. It is not Lakatos's theory itself that causes the (...) problems, but Radder's way of its application. (shrink)

The paper addresses the question of how the unity of science can adequately be characterized. A mere classification of scientific fields and disciplines does not express the unity of science unless it is supplemented with a perspective that establishes a systematic coherence among the different branches of science. Four ideas of this kind are discussed. Namely, the unity of scientific language, of scientific laws, of scientific method and of science as a practical‐operational enterprise. Whereas reference to the unity of scientific (...) language and of scientific laws does not provide a viable basis for the unity of science, the methodological and practical unity might. The unity of science can be characterized by the way in which methodological criteria enter into the assessment or evaluation of theories, and, moreover, by a transdisciplin‐ary approach to problems. Accordingly, the unity of science is not expressed by theoretical uniformity but by the unity of scientific practice. (shrink)

My recent book, Principles of Art History Writing, presents and defends a relativistic theory of art history. That book describes the changing styles of acceptable interpretations of such artists as Piero, Caravaggio and David. The validity of an interpretation, I argue, must be judged relative to the standards of its time. At each time, there is a certain consensus about what kinds of interpretations are worth taking seriously. Because those standards change with the times, the interpretations admired by earlier generations (...) may today seem confused, problematic or wrong-headed. But such changes in standards of interpretation are compatible with objectivity in interpretation, for what defines objectivity is a certain consensus about what styles of interpretation are acceptable. One aim of the philosopher of art history is to provide a history of these changing standards. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Constructive Postmodernism: Toward Renewal in Cultural and Literary StudiesDavid CarrierConstructive Postmodernism: Toward Renewal in Cultural and Literary Studies, by Martin Schiralli. Westport, CT, and London: Bergin and Garvey, 1999, 165pp., $55 cloth.Concerned with the consequences of Jacques Derrida's philosophy of deconstruction for cultural and literary studies, Martin Schiralli's elegantly written book offers, first, a critique of these claims and, then, a constructive alternative analysis. He admires Derrida's brilliantly (...) innovative writing, which as he rightly notes is "serious and philosophical" even if "the most patient reader can easily become disoriented and confused" (24). But even if, as Derrida argues, Ferdinard de Saussure's theory of meaning is flawed, we need not—he urges—become deconstructionists. Looking to the work of Stephen Toulmin, John Dewey, and late Wittgenstein, Schiralli finds suggestive ways of identifying concerns with cognitive value in literary texts. It then is possible, he argues, to offer a more reasonable perspective on recent debates about culture and politics than the recent academic arguments between "postmodern revisionists... [and] often hostile and defensive traditionalists" (73).In the second part of his book Schiralli illustrates the value of this perspective by offering a great deal of productive positive discussion. He discusses how "theoretically pertinent knowledge" (95) may be found in the novels of Jane Austen, Barbara Pym, and Anita Brookner. Appealing to Michael Polanyi's conception of tacit knowledge, he argues that Austen's ability to intuit "the rules governing social meaning... represents the tacit emergence of insight, just as her ability to use those insights explicitly in her fiction marks the emergence of more focal knowledge" (123). In analyzing an emotional response, he claims, we can ask whether it is "warranted or unwarranted in a given circumstance" (31). Using E. M. Forster's Howards End as his model, he develops this claim in an analysis that is brief, clear, and convincing. Finally, in his concluding pages he looks at the studies of character provided by Henry James and Marcel Proust. A proper theory of literary intelligence, he argues, should "treat those forms of cognitive acuity involved imaginatively in miming and representing verbally the intricacies and particularities of all aspects of human sensibility" (150).This bold, far-reaching book avoids the fanaticism that, as Schiralli notes, has marred all too much recent debate in the humanities. At this time, when the influence of Derrida has faded, I think this argumentation about his philosophical position is of less value than the constructive parts of the analysis. Treating Derrida as a theorist whose arguments tell us how to analyze literature is an unpromising project, as Schiralli well shows. Once that point is acknowledged, then we are ready to look seriously at literature as a form of social knowledge. Humanists teaching literature will find much of value in this graceful volume—and along with their colleagues in philosophy, these scholars will benefit from study of this well-argued analysis. [End Page 122]David CarrierCase Western Reserve University and Cleveland Institute of ArtCopyright © 2008 Board of Trustees of the University of Illinois... (shrink)

Elective Affinities: Musical Essays on the History of Aesthetic Theory collects a selection of Lydia Goehr's recent essays. In them she traces “a history of attraction and reaction … of music to philosophy, drama, birdsong, crime, film, and nationhood” . Goehr examines the ways that philosophers, the ideas that they present, and works of art display “elective affinities”. Her procedure is like that of an art historian who presents parallel slides to reveal visual affinities, even between artists who themselves were (...) unaware of each other. Her analyses are erudite, lucid, and always suggestive, but what I found most admirable in Elective Affinities is Goehr's extraordinarily brave experimentation with a novel form of philosophy-writing, the adumbration of which is the focus of this review. Her book is strange enough to be genuinely magnificent and lastingly influential. (shrink)

Critics of Laudan's normative naturalism have questioned whether methodological rules can be regarded as empirical hypotheses about relations between means and ends. Drawing on Laudan's defense that rules of method are contingent on assumptions about the world, I argue that even if such rules can be shown to be analytic in principle, in practice the warrant for such rules will be empirical. Laudan's naturalism, however, acquires normative force only by construing both methods and epistemic goals as instrumental to practical concerns, (...) and issues only in context-specific and not general methodological principles. (shrink)

Bd. 1. A-B -- Bd. 2. C-F -- Bd. 3. G-Inn -- Bd. 4. Ins-Loc.