To what extent are the answers to theological questions knowable? And if the relevant answers are knowable, which sorts of inquirers are in a position to know them? In this chapter we shall not answer these questions directly but instead supply a range of tools that may help us make progress here. The tools consist of plausible structural constraints on knowledge. After articulating them, we shall go on to indicate some ways in which they interact with theological scepticism. In some (...) cases the structural constraints bear directly on whether one can know answers to theological questions. But the structural considerations are related to theological scepticism in other interesting ways as well; for instance we will also be using them to explore the significance of scepticism, by addressing questions such as ‘To what extent does it matter whether or not we can know the answer to theological questions?’. (shrink)

It is often said that the best system account of laws needs supplementing with a theory of perfectly natural properties. The ‘strength’ and ‘simplicity’ of a system is language-relative and without a fixed vocabulary it is impossible to compare rival systems. Recently a number of philosophers have attempted to reformulate the BSA in an effort to avoid commitment to natural properties. I assess these proposals and argue that they are problematic as they stand. Nonetheless, I agree with their aim, and (...) show that if simplicity is interpreted as ‘compression’, algorithmic information theory provides a framework for system comparison without the need for natural properties. (shrink)

It has been argued that the fundamental laws of physics do not face a ‘problem of provisos’ equivalent to that found in other scientific disciplines (Earman, Roberts and Smith 2002) and there is only the appearance of exceptions to physical laws if they are confused with differential equations of evolution type (Smith 2002). In this paper I argue that even if this is true, fundamental laws in physics still pose a major challenge to standard Humean approaches to lawhood, as they (...) are not in any obvious sense about regularities in behaviour. A Humean approach to physical laws with exceptions is possible, however, if we adopt a view of laws that takes them to be the algorithms in the algorithmic compressions of empirical data. When this is supplemented with a distinction between lossy and lossless compression, we can explain exceptions in terms of compression artefacts present in the application of the lossy laws. (shrink)

The scope of libertarian law is normally limited to the application of the non-aggression principle (NAP), nothing more and nothing less. However, judging when the NAP has been violated requires not only a conception of praxeological notions such as aggression, but also interpretive understanding of what synthetic events count as the relevant praxeological types. Interpretive understanding—or verstehen—can be extremely heterogeneous between agents. The particular verständnis taken by a judge has considerable moral and political implications. Since selecting a verständnis is pre-requisite (...) to applying the NAP, the NAP itself cannot tell us which one we ought morally to choose. Therefore the application of the NAP calls on moral and political considerations outside of the NAP itself. Since some of these are more consistent with an endorsement of the NAP than others, libertarianism is not a “thin” commitment to the NAP alone, but a “thick” commitment to the NAP and other supporting moral and political considerations. (shrink)

This essay examines whether or not absurdity is intrinsic to human life. It takes Camus’ interpretation of ‘The Absurd’ as its conceptual starting point. It traces such thought back to Schopenhauer, whose work is then critically analysed. This analysis focuses primarily on happiness and meaning. This essay accepts some of Schopenhauer’s premises, but rejects his conclusions. Instead, it considers Nietzsche’s alternatives and the role of suffering in life. It posits that suffering may help people acquire meaning and escape absurdity. It (...) then analyses the role of compassion in absurdity, in reference to Nietzsche’s work and Buddhist teachings. Lastly, it examines absurdity in relation to death, rejecting the notion that death exacerbates absurdity. This paper understands absurdity to be a natural part of the human condition, as characterised by suffering, death and an absence of meaning. It concludes that although human life is absurd by nature, it need not remain so. (shrink)

There is a basic methodological difference in the way anarchists and non-anarchists think about politics, often more implicit than explicit. Anarchists see politics and justice as being concerns of social institutions, norms, and relations generally – both inside and outside the state. Much of academic political philosophy talks of politics and justice as if they are definitionally concerns about what states should do, or our relationships with each other through the state. In this chapter, we argue that the anarchists are (...) on the right side of this difference. We call the insight that undergirds the anarchists’ understanding of politics and justice “methodological anarchism.” We seek to exorcise the policy framework in favor of methodological anarchism. Indeed, we believe it should be embraced by all political philosophers, not only the anarchists among their ranks. Political philosophers ought to abstain from the policy framework for two reasons. Firstly, it is analytically impoverished inasmuch as, when followed to its logical conclusion, it is unable to engage with enormous areas of analysis that are relevant to what makes a society just or unjust. Secondly, it instills subtle prejudice against other important approaches to mitigating injustice that are unconcerned with public policy. This also carries the danger of lending ideological support for existing injustices and thereby entrenching them. Accepting our critique of the policy framework and adopting methodological anarchism does not necessarily require the acceptance of any kind of substantive political anarchism. But it does mean thinking a bit more like an anarchist about how to make society more just – thus our characterization of it as “methodological.”. (shrink)

This article addresses the issues that comes up as a result of working in a group on project. Assembling a good team is important in any phase of business, but it is especially important when managing a project to make sure that the work can get done on time and on budget. The process of acquiring a project team takes place within the executing processes and is concerned with confirming human resource availability and obtaining the personnel needed to complete project (...) assignments. It is complicated by the fact that individuals with different skill sets will be required at different points throughout the project. (shrink)

This article has highlighted some of the issues related to projects and how to deal with it. So often projects start and its completion becomes a challenge due to some the related issues discussed above. The project manager must monitor and control the human side of his project. This involves utilizing appropriate forms of power in managing the project team to obtain desired results. Project teams also need to manage stakeholder expectations through understanding their expectations, delivering on those expectations, and (...) communicating effectively (Kloppenborg, 2012). This will give the project manager the upper hand to deal with issues that may cause the failure of the project. (shrink)

From the point of view of an organization, projects act as a means for consolidating the experience and expertise of the organizational members effectively, create learning environment, encourage team-spirit and help to achieve organizational objectives. This article is about the task of a Project Manager in building Individual and project team capability in modern day project work.

This essay exemplifies a cognitive approach to literary and film studies, with particular emphasis on fictional reimagining of legal institutions. It draws on research of cognitive scientists who study metacognition—specifically, the difference between reflective and intuitive beliefs—to suggest that courtroom dramas, such as Billy Wilder’s Witness for the Prosecution (1957), can manipulate their viewers into believing something that they, on some level, know cannot be true. In this case, viewers accept the not guilty verdict by the jury even though “the (...) facts in the case” are “simple” and point to the guilt of the defendant. I show how different versions of Witness for the Prosecution—from Agatha Christie’s original short story (1925) and her subsequent play based on that story (1953), to the Hollywood film (1957), and the BBC mini-series (2016)—trigger our reflective beliefs about the defendant’s innocence, so that we find the verdict satisfying (at least for a short while). I conclude by considering literary payoffs of this manipulation, especially in the context of a culture that subscribes to a view of the mind as, in principle, knowable, and thus readable by skillful others. (shrink)

Suppose that Billy and Suzy each throw a rock at window, and either rock is sufficient to shatter the window. While some consider this a paradigmatic case of causal overdetermination, in which multiple cases are sufficient for an outcome, others consider it a case of joint causation, in which multiple causes are necessary to bring about an effect. Some hold that every case of overdetermination is a case of joint causation underdescribed: at a maximal level of description, every cause is (...) necessary to bring about the outcome in precisely the way that it occurs. -/- This paper shows the latter principle to be false. I introduce a novel class of events that are insensitive to the additive force of multiple causes. They are to be contrasted with sensitive events, which physically and counterfactually vary according to the number and sorts of causes they have. I argue that sensitive effects are symptoms of joint causation; insensitive effects are symptoms of overdetermination. Insensitive effects resulting from multiple causes cannot be classified as "joint causation underdescribed," but only as overdetermination. -/- I suggest that cases of "trumping preemption" should be understood as cases of overdetermination with insensitive effects. Consequently, Lewis' influence account of causation cannot handle these cases. (shrink)

The paper suggests that Samuel Taylor Coleridge’s arguments against sympathy after the French Revolution, Walter Benjamin’s claims against empathy following the traumatic shock of Modernity and the First World War, and Hannah Arendt’s critical take on compassion. after the Holocaust are similar responses to singular historical crises. Reconsidering Arendt’s On Revolution (1963) and its evocation of Hermann Melville’s novella Billy Budd (1891), I show first that the novella bears the traces of an essay by Samuel Taylor Coleridge, “The Appeal to (...) Law” (1809). Then, drawing on Walter Benjamin’s writings on trauma in Illuminations (1968, edited by Arendt), I discuss the political importance Arendt attaches to the proper way of telling a story, at a time when “the communicability of experience is decreasing” (Benjamin, Illuminations, 86). Through the analysis of Benjamin’s “The Storyteller” and Arendt’s “heartless” report on the Eichmann trial (1963), I equally show that, according to Arendt, testimonies must be narrated, or rather performed, in a dispassionate, dry, and compact manner so that they can be historically and politically relevant. (shrink)

The album Echo was produced in a depressed, drug-riddled phase when Tom Petty’s first marriage was ending and his physical condition so degraded that he took to using a cane. Petty filmed no videos, avoided playing the album’s songs on the follow-up tour and reported little memory of its making. The thoughtfulness and self-reflection that traumatic circumstances spur distinguish the album. So too does the tendency to look backwards in times of crisis, whether in hopes of finding solidity in the (...) past or just out of exhausted inability to cope with the present. -/- While melancholically creative, the album might be regarded as an echoing of past musical fragments. The sprightly mix of acoustic and electric guitars, the backing vocal harmonies and the stories of loss in songs such as “Won’t Last Long” and “This One’s for Me” harken to Petty’s albums from the late 80s to mid-90s. “Accused of Love” similarly contains echoes of Petty’s more upbeat work, but with depressing lyrical undertones. The production qualities and lyrics of “Rhino Skin” recollect “Asshole,” a Beck cover from Petty’s previous album. “I Don’t Wanna Fight”—a Heartbreakers performance composed and sung by Mike Campbell—returns to the hard driving rock of Damn the Torpedoes. The lyrics, straight-laced drums and layered drones of electric guitars of “Free Girl Now” go back further to “American Girl,” which itself was influenced by psychedelic music. At the same time, all of this typifies Petty’s oeuvre. Throughout his career, he made music steeped in past rock traditions. He was also a seminal figure in Southern rock, with its emphatically nostalgic character. -/- The crisis that Petty was experiencing echoes throughout the album in more specific ways, with many songs repeating the theme of being up or down, high or low. The theme of fighting or not wanting to has an especially strong echo, showing up in “Swingin’,” “Billy the Kid” and “I Don’t Wanna Fight.” These songs, in turn, exhibit nostalgia for past icons, with protagonists going down hard like Billy the Kid; or going down swinging like Sonny Liston; or again like Benny Goodman, Glenn Miller and Sammy Davis in a punny reference to the swing era. -/- The retrospective feel of the album is one of looking to the past for the sake of self-preservation in the present, along lines discussed by Nietzsche. While symptomatic of illness, Nietzsche maintains this movement “springs from the protective instinct of a degenerating life which tries by all means to sustain itself and to fight for existence.” This seeming denial of growth can, as Nietzsche continues, be “among the greatest conserving and yes-creating forces of life.” Petty clearly associated Echo with personal grief, refusing to listen to it for years. As with many other examples of art, however, the album was also a way of surviving and growing beyond a present trauma, and one more specifically that compelled him to overcome an important part of his past, namely, his wife of 20-plus years. One can speculate that clinging to fragments of the past—musical and otherwise—was a way of coping with a difficult present and a fading past. (shrink)

In this essay, I discuss in detail two of the earliest such documentaries: Death Mills (1945), directed by Billy Wilder; and Nazi Concentration Camps (1945), directed by George Stevens. Both film-makers were able to get direct footage of the newly-liberated concentration camps from the U.S. Army. Wilder served as a Colonel in the U.S. Army’s Psychological Warfare department in 1945 and was tasked with producing a documentary on the death camps as well as helping to restart Germany’s film industry. I (...) next review the great French Holocaust documentary Night and Fog (1955), directed by Alain Resnais. This was a widely acclaimed film, winning the Prix Jean Vigo in 1956. Resnais employed a camp survivor (Jean Cayrol) to write the dialogue, and it is powerful, indeed, truly lyrical in places. The last film I review in the essay is a generally overlooked British Thames Television documentary, Genocide: 1941-1945 (1974), directed by Michael Darlow (and narrated by Sir Laurence Oliver). It was the first of the major Holocaust documentaries to focus on the point that the Nazi genocide targeted first and foremost the Jewish people, and to explore the development of Nazi racial theory, and the rise of the SS. (shrink)