If one attempts to examine the role of a concept in the writings of a man of letters, it seems appropriate to begin with some linguistic observations pertinent to the discussion: aesthetics. To what extent and in what particular way does the metaphorical field associated with the concept of organism determine or at least reach into descriptions of the creative process as such? Such an initial step of modest pragmatics suggests itself especially in view of the fact that Goethe never (...) developed a system of aesthetics, classical or otherwise, in which a theoretical analysis would be possible. In fact, we will see that he had a fundamental distrust of theoretical systems for art or nature. In what terms, then, does Goethe describe the process of artistic creation? As might be expected, there are indeed expressions of "conceiving," of "nurturing" a theme, of "bearing" a poem for years until its final "birth." Many of those poems that strike the reader with their convincing immediacy, which seem to have been nothing but impulse and instantaneous expression of feeling, came into the world after a considerable period of incubation. And Goethe emphasizes that the length of pregnancy poetic was not determined by the poet, but by an internal process of maturing and usually by an external, catalytic occasion. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Adults spend most of their conscious life speaking, comprehending, writing, and reading discourse. It is entirely appropriate for cognitive science to investigate discourse especially as transmitted texts or printed media, such as books, newspapers, magazines, and computers. However, there is another reason why text understanding has been one of the prototypical areas of study in cognitive science: Interdisciplinary work is absolutely essential. As cognitive scientists have unraveled the puzzles of text comprehension, they have embraced the insights and methodologies from several (...) disciplines. (shrink)

Baars (1988, 1997) has proposed a psychological theory of consciousness, called global workspace theory. The present study describes a software agent implementation of that theory, called ''Conscious'' Mattie (CMattie). CMattie operates in a clerical domain from within a UNIX operating system, sending messages and interpreting messages in natural language that organize seminars at a university. CMattie fleshes out global workspace theory with a detailed computational model that integrates contemporary architectures in cognitive science and artificial intelligence. Baars (1997) lists the psychological (...) ''facts that any complete theory of consciousness must explain'' in his appendix to In the Theater of Consciousness; global workspace theory was designed to explain these ''facts.'' The present article discusses how the design of CMattie accounts for these facts and thereby the extent to which it implements global workspace theory. (shrink)

Genetically engineered organisms have been at the center of ethical debates among the public and regulators over their potential risks and benefits to the environment and society. Unlike the currently commercial GE crops that express resistance or tolerance to pesticides or herbicides, a new GE crop produces two bioactive nutrients and docosahexaenoic acid ) that heretofore have largely been produced only in aquatic environments. This represents a novel category of risk to ecosystem functioning. The present paper describes why growing oilseed (...) crops engineered to produce EPA and DHA means introducing into a terrestrial ecosystem a pair of highly bioactive nutrients that are novel to terrestrial ecosystems and why that may have ecological and physiological consequences. More importantly perhaps, this paper argues that discussion of this novel risk represents an opportunity to examine the way the debate over genetically modified crops is being conducted. (shrink)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in (...) science as they do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

The arts and the sciences perform many of the same cognitive functions, both serving to advance understanding. This paper explores some of the ways exemplification operates in the two fields. Both scientific experiments and works of art highlight, underscore, display, or convey some of their own features. They thereby focus attention on them, and make them available for examination and projection. Thus, the Michelson-Morley experiment exemplifies the constancy of the speed of light. Jackson Pollock's "Number One" exemplifies the (...) viscosity of paint. Despite their similarities, science and art might seem to differ in their attitude toward facts. Science is said to adhere to facts; art, to be indifferent to them. Such, I urge, is not the case. Science, like art, often scorns fact to advance understanding through fiction. Thought experiments, I contend, are scientific fictions; literary and pictorial fictions, aesthetic thought experiments. (shrink)

This volume brings together a distinguished collection of thinkers to consider the complex relation and divergence between art and science. How art and science relate to technology, why they should be thought relevant to morality, and what their study can possibly contribute to the understanding of the nature of the mind are only a few of the subjects explored in these pages.

This volume brings together a distinguished collection of thinkers to consider the complex relation and divergence between art and science. How art and science relate to technology, why they should be thought relevant to morality, and what their study can possibly contribute to the understanding of the nature of the mind are only a few of the subjects explored in these pages.

To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...) science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

In this article, I am using the example of the introduction of osteosynthesis into surgical routine practice to analyze the use of the notions of art and science in medical innovation. The examination of the renegotiations of power and responsibility associated with the introduction of this new technique shows that proponents and critics actively linked their arguments to more fundamental epistemological and social issues. The proponents claimed to manage the uncertainties of innovation through making surgery more scientific, drawing on the (...) ideals of control, rationality, objectivity, and predictability. The critics mobilized another discursive pattern. They considered surgery an art and emphasized the individuality, contingency, and situatedness of medical practice. I investigate the discursive function of these argumentative patterns and how they played out in the concrete example of this surgical technique. (shrink)

Calls for incorporating social science into patient care typically have accounted for neither the logistic constraints of medical training nor the methodological fallacies of utilizing aggregate “social facts” in clinical practice. By elucidating the different epistemic approaches of artistic and scientific practices, this paper illustrates an integrative artistic pedagogy that allows clinical practitioners to generate social scientific insights from actual patient encounters. Although there is no shortage of calls to bring social science into medicine, the more fundamental processes of thinking (...) by which art and science proceed have not been addressed to this end. As such, the art of medical practice is conceptualized as an innate gift, and thus little is done to cultivate it. Yet doing so is more important than ever because uncertainty in diagnosing and treating chronic illnesses, the most significant contemporary mortality risks, suggests a re-expanding role for clinical judgment. (shrink)

What can we expect of literature? And what should the role of criticism be? This collection reflects on developments in criticism and the different modes of knowledge that underwrite literature: a science model and its place in the university versus other ways of conceiving knowledge for which the arts have traditionally been seen as vehicles. Discussion ranges widely with contributions from leading academics as well as those outside the literary academy, including essays by the novelists Doris Lessing and David (...) Lodge. All the essays are concerned with what literature, and therefore criticism, is or aims to be. (shrink)

I am very sorry that you were distressed by the “critical tone” of my essay; and I apologize if it was in any way offensive. Though I am afraid that our disagreements remain, it would take another article to reply to the paper you enclosed. Of course, I have no objections to your sending your MS to the editor of Critical Inquiry, if you have not already done so.) But let me at least try to pinpoint our differences as I (...) see them. Leonard B. Meyer's most recent book is Explaining Music: Essays and Explanations. He is also the author of Emotion and Meaning in Music, The Rhythmic Structure of Music , and Music, The Arts, and Ideas, awarded the Laing Prize in 1969. (shrink)

This introduction to logic, which aims to reflect recent advances in the field, focuses on natural language, analyzing the structure of arguments conducted in English. The text includes problems with which students can test their skills.

In lieu of an abstract, here is a brief excerpt of the content:Art and Science, Facts and KnowledgeBengt Brülde (bio)Keywordsart, definitions, epistemology, facts and values, mental disorder, metaphysical realism, nominalism, physical disorder, social constructivismThe main purpose of my original article was to find out how the evaluative content of the concept of mental disorder, i.e. its "value component," should be characterized. Both Tyreman and Ross are focusing on other things, however. Tyreman seems to agree with my analysis, and his primary (...) objective is to find out whether my general analytical approach can be extended to other areas, e.g. whether it can be used to analyze the concept of physical disorder or the concept of art. It is hard to tell whether Ross agrees with my view, since her entire commentary is focused on a few assumptions I made in the beginning of the paper, mainly in passing, to make my evaluative investigation more manageable. In short, the main content of my original paper is never really challenged, and I do not think I have to revise my view on the evaluative content of the concept of mental disorder. Both commentaries give rise to questions that are interesting in their own right, however, e.g. questions about art and science, and about facts and knowledge. This gives me the opportunity to develop my views on a number of topics that I never touched upon in the original article, e.g. the purpose of defining "mental disorder," the factual component of the concept, the connection between ontological and epistemological issues, and the value-neutrality of science. I am very grateful to the editors for allowing me to give such an extensive reply.My Reply to TyremanTyreman wants to know whether the same kind of analysis given in my original paper can be applied just as usefully to other areas of health care. That is, the question is whether the same type of analytical approach can be extended to other areas where evaluative considerations seem to play a crucial part. In his commentary, Tyreman has mainly four areas in mind, namely physical disorder, art, good art, and good (competent) clinical practice. Or more specifically, the question is whether the kind of evaluative analysis I used in my original paper can help us answer the following four questions: (a) How should we define the concept of physical disorder, i.e. according to what criteria should we draw the line between physical disorders and other physical conditions? (b) How should we define the concept of art, i.e. according to what criteria should we draw the line between art and other artifacts and performances? (c) What is good art, i.e. according to what criteria should we evaluate those artifacts (etc.) that we have decided to categorize as works of art? (d) What makes a clinical performance or practice good or competent, according to what criteria should we evaluate such practices?The first two questions are conceptual, i.e. the question is how certain concepts should be [End Page 111] defined, and in what way or ways values enter the picture. The last two questions are straightforwardly evaluative, however, and it goes without saying that we have to rely on value judgments to answer these questions. This difference suggests that the conceptual analyses needed in the first two cases are somewhat different from the evaluative analyses needed in the last two cases. It is also far more likely that my analysis of mental disorder can be extended to the first two cases. After all, my approach is designed to capture the evaluative content of concepts that are not purely evaluative. (We will return to this below.)To see whether my analysis can be of any help in any of Tyreman's four cases, we need to recapitulate what it is all about. The analysis in question is specifically concerned with how the evaluative content of the concept of mental disorder should be characterized, i.e. how and to what extent we have to rely on value judgments to distinguish mental disorders from other conditions. The first part of the analysis consists in the formulation of four questions that any reasonably complete account needs to answer. These questions are: (0... (shrink)

Early in the 1240s the University of Paris hired a recent graduate from Oxford, Roger Bacon by name, to teach the arts and introduce Aristotle to its curriculum. Along with eight sets of questions on Aristotle's natural works and the Metaphysics he claims to have authored another eight books before he returned to Oxford around 1247. Within the prodigious output of this period we find a treatise on logic titled Summulae dialectices, and it is this that is here annotated (...) and presented in translation. The book is unique in several respects. First, there is the breadth of its sources. Not only do we find explicit reference to the usual authors such as Aristotle, Plato, Boethius, Porphyry, Cicero, and Priscian, we also find unexpected reference to Augustine, Bernardus Silvestris, Donatus, Terence, and Themistius, along with mention of the Muslim philosophers Algazel and Ibn Rushd. Second, it is clear that Bacon is drawing on or reacting to an extraordinarily wide variety of medieval sources: Garland the Computist, Hugh of St. Victor, Master Hugo, Hugutius of Pisa, Isidore of Seville, Nicholas of Damas, Nicholas of Paris, Richard of Cornwall, Robert Kilwardby, Robert of Lincoln, and Robert the Englishman. Third, it unexpectedly presents a full-blown treatment of Aristotle's theory of demonstration. And finally, Bacon reveals a highly unorthodox view of the signification of common terms. Bacon, here, takes his students and us deeper into medieval sources and controversy than any of his rivals do. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and political (...) philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

This book conveys 12 case studies about projects taking place in a School/University/Community Partnership Network in southwest Ohio. Participants partner to better the education experiences and the lives of community members in the region. This book shows how educational and community partnerships take shape and how they look in practice.

Proceedings of the 11th Interdisciplinary Symmetry Congress-Festival of the International Society for the Interdisciplinary Study of Symmetry. Special Theme: “Tradition and Innovation in Symmetry - Katachi”.

adiant Cool" has the makings of a gripping noir thriller: a missing body, a tough-talking female sleuth and a mustachioed Russian agent mixed up in a shadowy plot to take over the world. But the novel, by Dan Lloyd, a neurophilosopher at Trinity College in Hartford, is also a serious work of scholarship, the unlikely vehicle for an abstruse new theory of consciousness.

I was surprised to note the critical tone of the discussion which my friend Leonard B. Meyer recently devoted in these pages to an article on the relation of art and science that I wrote for a popular scientific magazine. For I had believed all the while that in my article I was merely presenting to a general scientific audience a watered-down version of what I thought were Meyer's own views. Evidently I was mistaken in that belief, though I have (...) been unable to fathom just where I went wrong in interpreting Meyer's earlier writings, which, more than any other source, are the provenance of my ideas about the nature of art. Gunther S. Stent, professor of molecular biology at the University of California, Berkeley, is the author of Molecular Biology of Bacterial Viruses, Phage and the Origin of Molecular Biology, Molecular Genetics: An Introductory Narrative, The Coming of the Golden Age: A View of the End of Progress, and many important scientific papers. In Concerning the Sciences, the Arts—AND the Humanities" , Leonard B. Meyer took issue with views expressed by Professor Stent in "Prematurity and Uniqueness in Scientific Discovery," published in Scientific American. (shrink)

In the first collection of his essays to be published, Jeremy Holmes discusses the wider application of psychotherapy within psychiatry and suggests that psychoanalysis needs to escape from its esotericism by taking into account contemporary advances in cognitive science, family therapy and the realities of psychiatric work in a public health setting. Illustrating his arguments with literary as well as clinical examples, he emphasizes the importance of creativity in psychotherapy and the connections between the artistic and psychotherapeutic impulse.