Joseph Margolis holds that both artworks and selves are ”culturally emergent entities." Culturally emergent entities are distinct from and not reducible to natural or physical entities. Artworks are thus not reducible to their physical media; a painting is thus not paint on canvas and music is not sound. In a similar vein, selves or persons are not reducible to biology, and thought is not reducible to the physical brain. Both artworks and selves thus have two ongoing and inseparable ”evolutions”—one cultural (...) and one physical. Rather than having fixed ”natures” that remain stable for any purpose other than numerical identity, artworks and selves have ”careers” due to their cultural evolution that change with the course and flux of history, interpretation and reinterpretation. The question for this essay is how a Margolisian encultured artist, who is also an individual ”self," can construct an identifiable ”career” that is both from culture and develops culture constructively in a way that involves an individual, as well as collective, contribution. In answering this question I will provide a theory that shows how Margolis’ work on the artist as cultural agent leaves room for creative innovators within a cultural context. In short, I claim that Margolis’ idea that a person is a thinking-and-doing practitioner that emerges from and works within a cultural context does allow for the agent to use that same context to acquire the tools and skills necessary to make something new. I will then consider how this innovation might be possible by making recourse to some theories of creativity from neuroscience and psychology. This essay will focus on Margolis’ theory of the creative artist as cultural agent as supplemented with an account of the nature of the human being as a raw set of genetic materials and capacity for acquiring cultural competence. My claim is that this is the site for an adequate account of how some encultured persons are able to create exceptional innovations in artistic domains and others are not. I agree with Margolis that it is true that innovation is not possible by any pre- or non-encultured self but I also think that extremes of cultural mastery and innovation, as in the case of highly creative and innovative artists, are not possible without an inborn potentiality to develop to a high level of cultural ability under the right conditions. This is not to deny Margolis’ theory of artists as cultural agents. Indeed, I accept Margolis’ view of the deep importance of culture to the development of the self and to the creative artist wholeheartedly. I also agree that this is a crucial aspect of artistic agency and creativity that has been given short shrift in analytic aesthetics. My intention here is only to answer one question that is still left unanswered after understanding and acknowledging the importance of culture: How do we account for the disparity in ability in cultural agents and artists that cannot be attributed to cultural training and socio-historical factors? How do we account for the existence of the exceptionally creative artist in a situation where the cultural and socio-historical factors are roughly equivalent for others who demonstrate lesser amounts of creativity? (shrink)

This paper examines the metaphysical status of the fact-value entanglement. According to Hilary Putnam, among others, this is a major theme in both classical and recent pragmatism, but its relevance obviously extends beyond pragmatism scholarship. The pragmatic naturalist must make sense of the entanglement thesis within a broadly non-reductively naturalist account of reality. Two rival options for such metaphysics are discussed: values may be claimed to emerge from facts (or normativity from factuality), or fact and value may be considered continuous. (...) Thus, pragmatic naturalism about fact and value may be based on either emergentism or Peircean synechism. This is a crucial tension not only in pragmatist philosophy of value but in pragmatically naturalist metaphysics generally. (shrink)

One way in which to address the intriguing relations between science and reality is to work via the models (mathematical structures) of formal scientific theories which are interpretations under which these theories turn out to be true. The so-called 'statement approach' to scientific theories -- characteristic for instance of Nagel, Carnap, and Hempel --depicts theories in terms of 'symbolic languages' and some set of 'correspondence rules' or 'definition principles'. The defenders of the oppositionist non-statement approach advocate an analysis where the (...) language in which the theory is formulated plays a much smaller role. They hold that foundational problems in the various sciences can in general be better addressed by focusing on the models these sciences employ than by reformulating the products of these sciences in some appropriate language. My model-theoretic realist account of science lies decidedly within the non-statement context, although I retain the notion of a theory as a deductively closed set of sentences (expressed in some appropriate language), in this paper I shall focus -- against the background of a model-theoretic account of science -- on the approach to the reality-science dichotomy offered by Nancy Cartwright and briefly comment on a few aspects of Roy Bhaskar's transcendental realism. I shall, in conclusion, show how a model-theoretic approach such as mine can combine the best of these two approaches. (shrink)

The argument proceeds from a sense of imminent danger; 9/11 and its sequel challenge our deepest pretensions regarding the universality and self-evidence of moral/political conviction. The intransigence of such convictions is now an important source of international conflict and terror. It also signifies that the resolution of the disorder that now confronts the international community requires a transformation in our conception of morality itself. In this regard, philosophy has an important task to address. The discussion explores a radical change in (...) our understanding of just war, the distinction between war and peace, the logic of conflict, and similar topics. (shrink)

Engineering is a practice that must function in an environment of incomplete and uncertain knowledge. This environment has become even more difficult in an increasingly complex world. Engineering ethics has to be framed and taught in a way that addresses these realities. This paper proposes a combination of the philosophy of pragmatism and the ethic of care as a possible framework for the practice of engineering ethics that can provide flexibility and openness to address engineering ethics problems more realistically within (...) the ethos and culture of engineering. Embedding values into practice, pragmatism and care provide a broad, reflective, and corrective framework for engineering ethics that can accommodate the realities in which engineering operates. It is shown that these two approaches are more consonant with design methodologies and have a natural fit with design thinking, so they mesh well with what engineers do and with the complexities of their work today. As humans more and more try to alter the socio-techno-natural world, e.g., the earth’s climate, the combination of pragmatism and care will allow enhanced ethical behavior. Alterations to complex adaptive systems will produce highly uncertain results that require engineers to have a mindset that allows them to act with humility in the face of significant uncertainty and potential catastrophic failures. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Dewey and the Question of Artful CommunicationScott R. StroudThe American pragmatist John Dewey included tantalizing sections of praise of the power of communication in his important work on community, experience, and their improvement, noting in 1925 that "of all aff airs, communication is the most wonderful" (1988a, LW 1:132) and in 1927 that communication plays an important part in the individual's attempt "to learn to become human" (1984, (...) LW 2:332).1 Some in the field of communication have sensed the important, but undeveloped, role that communication plays in his thought and have attempted to use Dewey's work in analyzing rhetorical practice, cultural studies, and the role of journalism in society.2 While such studies strive to clarify the value and process of communication in Dewey's thought, they fall short of explaining one seemingly simple thing that is implied in these passages—that communication can be experienced as aesthetic or artful. Nathan Crick identifies such a lacuna in the literature and notes that "beyond its utility as an argument against elite forms of academic criticism, the value of Dewey's aesthetic theory for communication studies remained underdeveloped" (2004, 303). Although he does an admirable job of tracing the relation of aesthetics to communication in Dewey's evolving thought, Crick comes no closer than others in answering the fundamental question of how communication can be artful or aesthetic—he merely argues for the general point that " communication, [End Page 153] whether it occurs in an oration, a conversation, or a television, is best understood as a form of art that has the potential to bring about aesthetic experience in its participants and open their eyes to the world of possibility embodied within each of us" (2004, 314). How exactly does this aesthetization of communication occur? Crick ends his article with the interesting claim that "in its aesthetic form communication becomes rhetorical. It turns communication into an art whose goal is a presentation that unites form and rhythm in a manner that can reach down into the experiences of the audience and literally transform them into something new" (2004, 317). How exactly does communication meet such standards? Does such a "high" art of communication as rhetoric fit everyday communication, the vast majority of human communicative practices?3 Although Crick's study is an important inquiry into the overall role of communication in Dewey's aesthetics, it still leaves open the fundamental question—How exactly can any given act of communication (beyond the eloquent and poetic oration) be rendered aesthetic or artful?This question was vitally important for Dewey, as he places artistic and aesthetic aspects of communicative practice at the very heart of his social and political philosophy. In describing the "Great Community," he announces that it will take place when two conditions hold: "The highest and most difficult kind of inquiry and a subtle, delicate, vivid and responsive art of communication must take possession of the physical machinery of transmission and circulation and breathe life into it.... Democracy will come into its own, for democracy is a name for a life of free and enriching communion.... It will have its consummation when free social inquiry is indissolubly wedded to the art of full and moving communication" (1984, LW 2:350). This is a vital passage for understanding Dewey's aims, as it clearly links a scientific method of thinking (his preferred method of "inquiry") with a form of communication that can be taken as an art.Yet scholars of communication systematically miss this part of the Deweyan equation. For instance, take Lary Belman's early study of Dewey's view of communication. He concludes by analyzing this same passage from Dewey on the two conditions of the Great Community and states, "The basic conditions for the creation of a Great Community... were, Dewey postulated, the presence of (a) vigorous, systematic, and continuous social inquiry to reveal the influential agencies at work in society and their mode of operation, and (b) widespread and rapid distribution of the findings of this inquiry in a form readily understood by those for whom these findings [End Page 154] have significance" (1977, 36–37). It is remarkable that the... (shrink)

The influence of feminist theory on philosophy has been less pervasive than it might have been. This is due in part to inherent tensions between feminist critique and the university as an institution, and to philosophy's place in the academy. These tensions, if explored rather than resisted, can result in a revitalized, more explicitly feminist conception of philosophy itself, wherein philosophy is seen as an attempt to rethink the deepest aspects of experience and culture.

This paper begins with a memoir of the author’s interactions with Joseph Margolis that delineates both Margolis’s importance as a teacher and their disagreements on aspects of American philosophy. It then turns to Margolis’s discussions of pragmatism as a philosophical movement, with an emphasis on his understanding of John Dewey. The paper considers, third, Margolis’s account of the decline and rebirth of pragmatism, the latter process attributed largely to the work of Richard Rorty. The paper concludes with an examination of (...) what it sees as Margolis’s most valuable work: his explorations of the nature of the self and of human society. (shrink)