Patient and public involvement is widely thought to be important in the improvement of health care delivery and in health equity. Purpose: The article examines the role of experiential knowledge in service co-production in order to develop opiate substitution treatment services (OST) for high-risk opioid users. Method: Drawing on social representations theory and the concept of social identity, we explore how experts’ by experience and registered nurses’ understandings of OST contain discourses about the social representations, identity, and citizenship of the (...) participants and the effects these may have on developing or hindering inclusive and bottom-up forms of patient and public involvement. Results: The meeting sessions that potentially offer room for creativity and problem-solving fail to provide any new propositions for fixing the system. The health care professionals primarily identify themselves as regulators who protect the correctness of their actions and show little interest in considering experiential knowledge on opioid addiction. Conclusion: The participation of patients has been one of the prominent reforms implemented in health care. The goal of client-centered thinking is often emphasised; however, the implementation is not simple due to the strongly institutionalised knowledge and related working patterns and practices in health care. (shrink)

The practice of Ontography deployed by OOO, clarified and expanded in this essay, produces a highly productive framework for analyzing Salvador Dalí’s ontological project between 1928 and 1935. Through the careful analysis of paintings and original texts from this period, we establish the antecedents for Dalí’s theorization of Surrealist objects in Cubism and Italian Metaphysical art, which we collectively refer to as ‘Ontographic art,’ drawing parallels with the tenets of Graham Harman’s and Ian Bogost’s object-oriented philosophical programmes. We respond to (...) the question raised by Roger Rothman concerning Object-Oriented Idealism in Dalí’s work by showing pivotal changes to Dalí’s ontological outlook, from Idealism to Realism, across the aforementioned period, positing the Ontographic intentionality of Dalí’s ontological project in Surrealist art. (shrink)

In Galileo's Error, Philip Goff sets out a manifesto for a post-Galilean science of consciousness. Article four of the manifesto reads: 'Anti-Dualism: Consciousness is not separate from the physical world; rather consciousness is located in the intrinsic nature of the physical world.' I argue that there is an important sense of ‘dualism’ in which Goff’s arguments are not only compatible with but entail dualism, and not only dualism but substance dualism. Substance dualism, in the sense I have in mind, is (...) the view that (i) there are two sides to reality, a fundamentally mental side and a fundamentally nonmental side; and (ii) the fundamentally mental side consists of mental substances resembling Cartesian souls. I do not suggest that this is bad news for post-Galilean science of consciousness. My aim is rather to push for a certain view about what a theory of consciousness motivated by Goff’s arguments must look like. (shrink)

The received view of Kripke's Wittgenstein on Rules and Private Language is that it fails as an interpretation because, inter alia, it ignores or overlooks what Wittgenstein has to say in the second paragraph of Philosophical Investigations 201. In this paper, I demonstrate that the paragraph in question is in fact fully accommodated within Kripke's reading, and cannot therefore be reasonably utilised to object to it. -/- In part one I characterise the objection; in part two I explain why it (...) fails; in part three I suggest why commentators might have been motivated to offer it; and in part four I claim that two commentators who have offered it also imply otherwise. (shrink)

This article makes the case that a more capacious understanding of the philosophy of naturalistic monism can place in a new light some of the chief intellectual, cultural, religious and political questions and conflicts in the period between the 1840s and 1940s, making this in many ways a “monist century.” It approaches this task from two directions. First, the article argues that monism represented a peculiar type of socially embodied knowledge that is little understood and yet which illuminates one of (...) the important ways in which religion, science, and philosophy coalesced in social and political movements in this period. It approaches this task through an analysis of two key terms in Ernst Haeckel’s epoch-making book "The Riddle of the Universe" (1899). Haeckel invoked the term “world riddles” to identify those points of conflict between dualistic and monist philosophical systems and to claim that the latter had solved this riddles through science. By contrast, this article identifies in the riddles the nodal points upon which the entire monist edifice was erected. Turning to the social embodiment of monism, I argue that rather than approaching monism as philosophy, religion, scientific paradigm or ideology, it is best understood as a novel formation of knowledge captured in the second key term “worldview.” Indeed, in many ways the German concept of Weltanschauung developed in tandem with and through the history of monism, so that monism offers a particularly rich avenue for exploring what made the monist century also an age of worldviews. (shrink)

The 1830s and 1840s saw the proliferating usage of “the Beyond” (Jenseits) as a choice term for the afterlife in German public discourse. This linguistic innovation coincided with the rise of empiricism in natural science. It also signaled an emerging religious debate in which bald challenges to the very existence of heaven were aired before the wider German public for the first time. Against the belief of many contemporaries that empirical science was chiefly responsible for this attack on one of (...) the central tenets of Christianity, this essay shows instead that the role played by Christian dissenters in the negation of the Beyond. The polemical invocation of an empty Beyond coincided with the separation in the mid 1840s of two dissenting sects – the Deutschkatholiken (“German Catholics”) and the Protestant Free Congregations – from the main Christian Churches. During the Revolution of 1848, these sects, later known as Free Religious Congregations, deepened their critique of the Beyond as they articulated a new creed of radical humanism and natural scientific monism. Yet, despite their secularist agenda the Free Religious failed to fully secularize. The essay concludes by suggesting that the anticlerical activity of the Free Religious and affiliated freethinking organizations, which lasted into the 1930s, marks a century in which movements of radical political and social dissent remained open to and indeed partially dependent on the negation of the Beyond in order to sacralize humanity and nature. (shrink)

This thesis is a critical and comparative study of four commentators on the later Wittgenstein’s rule following considerations. As such its primary aim is exegetical, and ultimately the thesis seeks to arrive at an enriched understanding of Wittgenstein’s work through the distillation of the four commentators into what, it is hoped, can be said to approach a definitive interpretation, freed of their individual frailties. -/- The thesis commences by explicating the position of Kripke’s Wittgenstein. He draws our attention to the (...) ‘sceptical problem’ of how we are to resolve the apparently paradoxical situation that whilst we seem to use language meaningfully, there is no fact about us that constitutes our meaning one thing as opposed to something else, and consequently the possibility of our actually meaning anything seems to evaporate. Kripke interprets Wittgenstein as accepting the validity of the sceptical problem, but seeking to establish that the force of the problem is radically diminished because the justification which it has shown to be unobtainable is actually unnecessary for rule following to take place. -/- McDowell tries to show that Kripke is mistaken when he views Wittgenstein as endorsing scepticism in this way, because he sees Kripke as failing to appreciate a section of Philosophical Investigations which suggests that one ought to reject the sceptical paradox by correcting the misunderstanding which gives rise to it. McDowell reads Wittgenstein’s claim as being that we mistakenly think we are caught in a dilemma which requires us either to endorse the sceptical paradox or to subscribe to a mythological picture of rule following; whereas, so the thought goes, we must reject the entire dilemma. -/- Although McDowell’s criticism of Kripke is essentially correct, he is motivated to that criticism by an incorrect reading of Wittgenstein. Central to this misinterpretation is his failure to note Wittgenstein’s belief that universal scepticism is nonsensical. Winch does much to flesh out the nature of Wittgenstein’s claim here, although he makes the mistake of attributing to Kripke that position which the latter finds in Philosophical Investigations. Despite inheriting this error from Winch, Diamond nonetheless improves on his attempt to characterize the shortcomings of Kripke’s reading as an interpretation of Wittgenstein, enabling the thesis to reach a conclusion about Wittgenstein’s understanding of rule following. (shrink)

Substance-abusing women are vulnerable to specific kinds of epistemic injustice, including stigmatization and discrimination. This article examines the development of the epistemic agency of female substance abusers by asking: How does the use of a formal discussion protocol in community rehabilitation interaction alleviate epistemic injustice and strengthen the epistemic agency of substance abusers? The data were collected in a Finnish rehabilitation center by videotaping six group discussions between social workers, peer support workers, and rehabilitation clients with substance abuse problems. Of (...) these data, one recorded group discussion between four female participants—two rehabilitation clients, a peer support worker, and a social adviser—was used in this paper. Using conversational analysis, the findings indicate that, through the collaborative activities of sharing experiential knowledge about substance abuse and discussing the experiences of abuse in the rehabilitation interaction, substance abusers can develop novel ways to strengthen their epistemic agency by enhanced self-awareness. The discussion protocol is an epistemic tool that professionals and clients can learn to use in ethically and epistemologically successful ways in interaction. The use of a discussion protocol is an example of social professionals’ clinical knowledge of intensifying collaboration and sharing experiential knowledge in community rehabilitation and other substance abuse services. (shrink)

There are possible worlds in which time is circular and finite in duration, forming a loop of, say, 12,000 years. There are also possible worlds in which time is linear and infinite in both directions and in which history is repetitive, consisting of infinitely many 12,000-year epochs, each two of which are exactly alike with respect to all intrinsic, purely qualitative properties. Could one ever have empirical evidence that one inhabits a world of the first kind rather than a world (...) of the second kind? We argue for the affirmative answer, contra Quine, Newton-Smith, and Bergström. Our argument for that conclusion differs from an argument for the same conclusion due to Weir. Weir’s argument is probabilistic and explicitly requires having evidence against determinism. Our argument is a direct appeal to the simplicity of laws, and it involves no probabilistic component. It is modeled on Shoemaker’s argument that one could have evidence of time without change. (shrink)

From Joan Lindsay and cinematic master Peter Weir to Ted Kotcheff and Warwick Thornton, over past decades authors, screenwriters and filmmakers have produced films that depict the vast Australian landscape—simply referred to as terra nullius during colonial times by settlers literally confronting a continent vastly different from anything they were culturally and geographically accustomed to—as mysterious, impenetrable and ominous. Just like the dark cold of Scandinavia lends itself perfectly to contemporary Nordic Noir, the Australian New Wave or Australian Film (...) Revival of the 1970s and 1980s saw the release of films that encapsulated the eeriness of this largely rugged, arid and windswept continent, which opens up possibilities for anything to happen within those very, limitless, territories. This article analyses Weir’s Picnic at Hanging Rock (1975), Kotcheff’s horror flick par excellence Wake in Fright (1971); "the best and most terrifying film about Australia in existence" and with a TV-series remake in 2017, and Thornton’s more recent portrayal of Aboriginal misery and poverty Samson and Delilah (2009) set against a hostile urban backdrop, from a Foucauldian perspective. In its theoretical framework it also draws primarily on Freud. Heterotopia is used as a term to refer to strange, bewildering spaces that are disturbing and undecipherable—also described as “an unimaginable space, representable only in language, and as a kind of semimythical real site” (as articulated in Knight, 2017, 141). Foucault’s concept is applied in a cinematic context and used in conjunction with Freud’s notion of the uncanny as a feeling of uneasiness; or, as has been explained in his seminal text “The Uncanny” (1919), “that class of the terrifying that leads back to something long known to us, once very familiar.” We argue that these eerie, fear-induced screened narratives represent a nation whose weather-beaten, freedom-loving yet at heart anxiety-ridden people are most definitely a product of their environment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving seconds (...) too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)