Conceptual engineering takes a distinctively normative and reconstructive approach to our conceptual repertoire. This approach is congenial to the ideas defended by philosophers belonging to the multifaceted tradition of American and Cambridge Pragmatism. This special issue is devoted to the investigation and development of these connections. Our introduction maps some of the historical and theoretical entanglements between the two fields and gives a short overview of the contributions to the special issue.

The sustainability movement, currently gathering considerable attention from architects, derives much of its moral foundation from the theoretical initiatives of environmental ethics. How is the value of sustainability to mesh with architecture’s time-tested values? The idea that an ethic of sustainability might serve architects’ efforts to reground their practices in something that opposes consumer values of the marketplace has intuitive appeal and makes a certain amount of sense. However, it is far from obvious that the sustainability movement provides a strong (...) enough conceptual framework for an entire designphilosophy. This issue is complicated by two different sustainable design outlooks which parallel two conceptions of environmental ethics: the practical and the radical. Neverthleless, sustainability need not resort to the philosophical excess of its radical branch to help foster a new public-spiritedness. (shrink)

"What are you?" This question, whether explicitly raised by another or implied in his gaze, is one with which many persons perceived to be racially ambiguous struggle. This article centers on encounters with this question. Its aim is twofold: first, to describe the phenomenology of a particular type of racializing encounter, one in which one of the parties is perceived to be racially ambiguous; second, to investigate how these often alienating encounters can be better negotiated. In the course of this (...) investigation, this article examines the addressee's point of view and consider possible responses to the other's question. In addition, it discusses the addresser's perspective, both to probe the curiosity underlying the "What are you?" question and to explore alternatives to it. By describing the phenomenology of these encounters, this article hopes to show that racial ambiguity, as distinct from mixed-race, is a category of lived experience that calls for deeper philosophical scrutiny. (shrink)

Dewey's pragmatist regard for the place of rules in moral deliberation occupies a middle ground between the rejection of rules found in Jonathan Dancy's moral particularism and full scale subsumptivism of actions to rules. Concerning the authority rules should play in one's moral thinking, however, Dewey is closely aligned with the particularists: he rejects their authority over individual cases. This essay takes Dewey's naturalistic approach to the derivation of rules to argue that in some cases it is ultimately beneficial to (...) allow rules to occupy a place of authority in moral thinking. (shrink)

Dewey's pragmatist aesthetics attempts to reconcile the tension between public and private demands on the work of art that has troubled contemporary architecture since the passing of modernism. As a public philosophy of art it holds tremendous promise; but architects will likely find Dewey's characterization of the individual encounter with the work of art less satisfactory. This suggests that Dewey's pragmatism may have over-committed to a singular aesthetic interpretation of the world, lacking the philosophical distance sought by architects. However, pragmatism (...) might inform the reconciliation project as a helpful aesthetic outlook. (shrink)

This article examines the question of life's meaning in the Anthropocene, an era where the biosphere is significantly threatened by human activities. To introduce the existential dilemma posed by the Anthropocene, Leboeuf considers Samuel Scheffler's Death and the Afterlife. According to Scheffler, the existence of others after one's death shapes how one finds life meaningful. Thus, anyone who sees a connection between the meaning of life and the future of humanity should ask, why live in the Anthropocene? Leboeuf answers this (...) question via William James's lecture “Is Life Worth Living?” James, Leboeuf argues, would enjoin us not to waste time deliberating about life's worthwhileness. Instead, we must meet the challenges placed on us. Today we are summoned by our climate crisis to fight for our survival. Even if our collective future will have been shortened by our inaction, life is worth living in the Anthropocene. (shrink)

In this paper, building on these previous works, we propose to go deeper into the understanding of crowd behavior by proposing an approach which integrates ontologi- cal models of crowd behavior and dedicated computer vision algorithms, with the aim of recognizing some targeted complex events happening in the playground from the observation of the spectator crowd behavior. In order to do that, we first propose an ontology encoding available knowledge on spectator crowd behavior, built as a spe- cialization of the (...) DOLCE foundational ontology, which allows the representation of categories belonging both to the physical and to the social realms. We then propose a simplified and tractable version of such ontology in a new temporal extension of a description logic, which is used for temporally coupling events happening on the play- ground and spectator crowd behavior. At last, computer vision algorithms provide the input information concerning what is observed on the stands and ontological reasoning delivers the output necessary to perform complex event recognition. (shrink)

Par risques majeurs, on entend ceux qui s’attachent à des événements dont les conséquences défavorables, pour l’humanité ou pour l’environnement, sont d’une gravité exceptionnelle. On n’ajoutera ni que ces événements sont d’une intensité physique extrême, ni qu’ils surviennent rarement, car ce n’est pas toujours le cas. Seuls des risques majeurs de nature civile seront considérés dans cet ouvrage, et il s'agira, plus limitativement, de risques naturels, comme ceux d’inondation et de submersion marine, illustrés par la tempête Xynthia en 2010, de (...) risques technologiques industriels, comme celui d’une explosion d'usine, illustré par la catastrophe AZF en 2001, et de risques nucléaires, pour autant qu’ils mettent en jeu les dangers de la radioactivité, et qu’illustrent, hors de France, les catastrophes de Three Miles Island (1979), Tchernobyl (1986) et Fukushima (2011), -/- Conçu comme un rapport destiné au Conseil d'analyse économique (CAE) du Premier Ministre français, l'ouvrage comporte une introduction traitant du risque majeur pris en général (section 1). Dans sa partie principale, il aborde les trois risques majeurs qu'il a sélectionnés à travers les prismes successifs de la géographie et de la technologie (section 2), de l’histoire institutionnelle et juridique (section 3), enfin d’un bilan normatif accompagné de recommandations pour l'action publique (section 4). -/- Neuf compléments spécialisés, dus à d'autres auteurs, complètent l'ouvrage. Ils portent sur des aspects technologiques (F. Ménage; A. Quantin et D. Moucoulon; P. Saint-Raymond), juridiques (V. Sanseverino-Godfrin), économiques généraux (C. Grislain-Letrémy et B. Villeneuve; R. Lahidji; J. Percebois; A. Schmitt et S. Spaeter) et financiers (M. Pappalardo) et ils concernent principalement le risque nucléaire. -/- Dans cet ensemble de vaste format, on espère avoir su proposer, non seulement des évaluations et des préconisations destinées aux pouvoirs publics, comme il convenait au projet initial de rapport, mais aussi une synthèse qui soit utilisable par tous ceux - décideurs, scientifiques ou simples observateurs - que préoccupent les questions de risques majeurs. (shrink)

In assessing ethical issues concerning the sex-industry, feminist liberalism ought to combine the concern for the worker that is central to its treatment of prostitution, with sensitivity to the social and cultural embeddedness of self that is central to its treatment of pornography. That would enable us to then look at live-actor pornography as a form of prostitution that raises additional questions about third party consumption — and analysis both more theoretically coherent and practically useful.

Concerns about threats to human autonomy feature prominently in the field of AI ethics. One aspect of this concern relates to the use of AI systems for problematically manipulative influence. In response to this, the European Union’s draft AI Act (AIA) includes a prohibition on AI systems deploying subliminal techniques that alter people’s behavior in ways that are reasonably likely to cause harm (Article 5(1)(a)). Critics have argued that the term ‘subliminal techniques’ is too narrow to capture the target cases (...) of AI-based manipulation. We propose a definition of ‘subliminal techniques’ that (a) is grounded on a plausible interpretation of the legal text; (b) addresses all or most of the underlying ethical concerns motivating the prohibition; (c) is defensible from a scientific and philosophical perspective; and (d) does not over-reach in ways that impose excessive administrative and regulatory burdens. The definition is meant to provide guidance for design teams seeking to pursue responsible and ethically aligned AI innovation. (shrink)

I am grateful to Donald Ainslie, Lisa Austin, Michael Blake, Abraham Drassinower, David Dyzenhaus, George Fletcher, Robert Gibbs, Louis-Philippe Hodgson, Sari Kisilevsky, Dennis Klimchuk, Christopher Morris, Scott Shapiro, Horacio Spector, Sergio Tenenbaum, Malcolm Thorburn, Ernest Weinrib, Karen Weisman, and the Editors of Philosophy & Public Affairs for comments, and audiences in the UCLA Philosophy Department and Columbia Law School for their questions.

Contributors: Steven Barbone, Laurent Bove, Edwin Curley, Valérie Debuiche, Michael Della Rocca, Simon B. Duffy, Daniel Garber, Pascale Gillot, Céline Hervet, Jonathan Israel, Chantal Jaquet, Mogens Lærke, Jacqueline Lagrée, Martin Lin, Yitzhak Y. Melamed, Pierre-François Moreau, Steven Nadler, Knox Peden, Alison Peterman, Charles Ramond, Michael A. Rosenthal, Pascal Sévérac, Hasana Sharp, Jack Stetter, Ariel Suhamy, Lorenzo Vinciguerra.

This largely expository lecture deals with aspects of traditional solid geometry suitable for applications in logic courses. Polygons are plane or two-dimensional; the simplest are triangles. Polyhedra [or polyhedrons] are solid or three-dimensional; the simplest are tetrahedra [or triangular pyramids, made of four triangles]. -/- A regular polygon has equal sides and equal angles. A polyhedron having congruent faces and congruent [polyhedral] angles is not called regular, as some might expect; rather they are said to be subregular—a word coined for (...) this lecture. To repeat, a subregular polyhedron has congruent faces and congruent [polyhedral] angles. A subregular polyhedron whose faces are all regular polygons is regular—using standard terminology. -/- Geometers before Euclid showed that there are “essentially” only five regular polyhedra: every regular polyhedron is a tetrahedron (4 faces), a hexahedron or cube (6 faces), an octahedron (8 faces), a dodecahedron (12 faces), or an icosahedron (20 faces). -/- The first question is whether there are subregular polyhedra that are not regular. For example, are there tetrahedra having congruent angles and congruent triangular faces but whose faces are not equilateral triangles? -/- Another question is the classification of subregular polyhedra if they exist. For example, considering the fact that the regular tetrahedra all have equilateral triangles as faces, we ask which triangles other than equilaterals are faces of subregular tetrahedra. Similarly, considering the fact that the regular hexahedra all have squares as faces, we ask which quadrangles other than squares are faces of subregular hexahedra. -/- After introductory remarks that include historical and philosophical points, we concentrate on tetrahedra. A triangle that is congruent to each of the four faces of a tetrahedron is called a generator of the tetrahedron. The main result proved is that every acute triangle is a generator of a subregular tetrahedron. The proof includes an algorithm –implementable with scissors and paper –that constructs from any given acute triangle a subregular tetrahedron whose faces are congruent to the given triangle. -/- Algorithm: Given any acute triangle. Construct a similar triangle whose sides are double the sides of the given triangle. Draw the three lines connecting the three midpoints of the sides (making four triangles congruent to the given triangle—a central triangle surrounded by three peripheral triangles). Make three “hinges” along the lines connecting the midpoints. “Fold” the peripheral triangles together (into a tetrahedron). [LIGHTLY EDITED VERSION OF PRINTED ABSTRACT] Acknowledgements: William Lawvere, Colin McLarty, Irvin Miller, Frango Nabrasa, Lawrence Spector, Roberto Torretti, and Richard Vesley. -/- . (shrink)

The book covers scientific and philosophical topics by bringing them closer to literature. Some topics are scientific explanation, the concept of cause, rational argumentation, pseudoscience, language, ethics, philosophy of mind, posthumanism, and democracy. Summary Prefazione di Severino Saccardi. Introduzione. Capitolo 1: Le scrivanie di Eddington. 1.1. Il vecchio Qfwfq (I. Calvino. Le cosmicomiche). 1.2. L’assassino invisibile (L.F. Celine, Il dottor Semmelweis). 1.3. Gli gnommeri di Ingravallo (C.E. Gadda, Quer pasticciaccio brutto de via Merulana). 1.4. I sergenti di Napoleone (L. Tolstoj, (...) Guerra e pace). 1.5. Tex e il Coyote nero (G. Bonelli, Il Coyote nero). 1.6. “Elementare Watson!” (A.C. Doyle, Il segno dei quattro). Capitolo 2. Non saranno mai delusi. 2.1. L’albero di Natale. (V. Perrin, Cambiare l’acqua ai fiori). 2.2. Il dagherrotipo di Buendia. (G.G. Marquez, Cent’anni di solitudine). 2.3. Don Ferrante e la peste. (A. Manzoni, I promessi sposi). Capitolo 3. Capitolo puffo. 3.1. L’Accademia di Lagado. (J. Swift, I viaggi di Gulliver). 3.2. Bruto è uomo d’onore. (W. Shakespeare, Giulio Cesare). 3.3. Le oche mute. (G. Orwell, 1984). Capitolo 4. “Quarantadue!” 4.1. Lo zio N’Ba N’Ga. (I. Calvino, Le cosmicomiche). 4.2. La mosca cocchiera. (J. de La Fontaine, Favole). 4.3. Il fiore del dr. Dek. (E. Salgari, Le meraviglie del Duemila). Capitolo 5. L’ultimo uomo. 5.1. La pernice accusatrice. (Cyrano de Bergerac, Gli stati e gli imperi del Sole). 5.2. Pallino in via Mjasnickaja. (M.A. Bulgakov, Cuore di cane). Capitolo 6. Scenari perturbanti. 6.1. Dissipatio. (G. Morselli, Dissipatio H.G.). 6.2. Un mammifero meccanizzato. (S. Butler, Erewhon). 6.3. Mlle Olimpia. (E.T.A. Hoffmann, Racconti notturni). Capitolo 7. La gente perbene. 7.1. La balena bianca. (H. Melville, Moby Dick). 7.2. Betsabea Everdeene. (T. Hardy, Via dalla pazza folla). 7.3. Un’idea francese. (C. McCarthy, Cavalli selvaggi). 7.4. Le montagne del Montana. (D. Delillo, Rumore bianco). (shrink)

Melancholy is a central expressive property of the Before films and key to understanding and appreciating the trilogy as a whole. That, in a nutshell, is the thesis I develop in this paper. In the first section, I present a philosophical account of melancholy in general and aesthetic melancholy in particular. Melancholy is understood here as the profound and bittersweet emotional experience that occurs when we vividly grasp a harsh truth about human existence in such a way that we come (...) to appreciate certain aspects of life more deeply. The second section of the paper focuses on the many intense as well as more subtle moments of melancholy in the various encounters between Celine and Jesse. These moments, I argue, are partly prompted by the environment and the circumstances in which they find themselves. But both of them also actively seek out and create such moments by the stories they tell and the reflections they engage in. That seems part of who they are as individuals and, I contend, it may be part of what attracts them to each other. In the third section, I address ‘film expression’, as opposed to ‘character expression’, and argue that melancholy is not just present in the characters’ dialogue and in their facial and bodily expressions but is also expressed through various cinematic means. The final section centres on the audience and the reception of the Before trilogy. I introduce the distinction between expression and expressiveness and suggest that the films may have resonated deeply with some viewers because they are so expressive of melancholy. (shrink)

Richard Linklater’s celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Céline (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy. This book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature (...) so vividly in the interactions between Céline and Jesse, including: the nature of love, romanticism and marriage the passage and experience of time the meaning of life the art of conversation the narrative self gender death Including an interview with Julie Delpy in which she discusses her involvement in the films and the importance of studying philosophy. (shrink)

ترجمة: القيم الفردانية والجماعية في الممارسة التربوية: تنافس أم تكامل؟ ذ. محمد حابا مترجم بتصرف عن مقالة منشورة بمجلة (Diversité)، العدد 157، صيف 2009، المركز الوطني الفرنسي للتوثيق التربوي الكاتبين: - ميكائيل دامبرون((Michaël DAMBRUN) - وسيلين دارنون (Céline DARNON). بالنظر لأهمية القيم الفردانية (Individualisme) والجماعية (Collectivisme) كمتغيرات مركزية ضمن منظومة القيم الثقافية الرئيسية التي تؤطر المنظومة والممارسات التربوية، تقترح هذه المقالة إبراز الارتباطات بين المعارف التي يوفرها علم النفس الثقافي حول هذه القيم، وبين نتائج وخلاصات علم النفس التربوي في (...) شأن تأثير الممارسات التربوية على التجارب المدرسية للمتعلمين. تعد المنظومة التربوية أداة مثالية للتنشئة الاجتماعية والثقافية، إذ من خلال الممارسات التربوية المتنوعة، يكتسب المتعلم الأهداف والقيم التي تجسد شخصيته، إضافة إلى مجموعة من الكفايات المعرفية والاجتماعية. إن الممارسة التربوية غالبا ما تعكس القيم السائدة في المجتمع، فالمنظومة التربوية لا تشكل بنية مستقلة عن المجتمع، بل على العكس من ذلك، تمثل عضوا ذا وظيفة مميزة، تتمثل في تعليم وتدريب الشباب. (shrink)

The proposed theoretical motivation for legal fictionalism begins by focusing upon the seemingly supernatural powers of creation and control that mere mortals exercise over legal things, as a subclass of socially constructed things. This focus brings to the fore a dilemma of uncharitableness concerning the ontological commitments expressed in the discourse of whole societies about such things. Either, there is widespread equivocation as to the fundamental concept expressed by terms such as ‘existence’ or our claims about legal and other institutional (...) things are never really true. When stated as a dilemma, rather than assuming either horn from the outset, our broader social practice of fiction-telling yields a reason to prefer the fictionalist horn. -/- I differentiate three grades of legal fictionalism and contrast strong legal fictionalism with Horacio Spector’s weak form. Only the stronger form has it that engagement in a fictional discourse of law can provide reasons for legal decision-making independent of moral opinions or policy considerations. This stance relies on the claim that maintaining a fictional discourse with respect for its integrity justifies inferences to conclusions about a fictional domain beyond what is described in existing expressions of the discourse. Focusing on ontology allows an analogy between a fictional discourse of law and literary or popular fiction, in which context such inferences are more obviously persuasive. I argue that this notion of respect for the integrity of such a discourse saves legal formalist jurisprudence from the indeterminacy objections of legal realists. (shrink)