Richard Shusterman suggested that Maurice Merleau-Ponty neglected “‘lived somaesthetic reflection,’ that is, concrete but representational and reflective body consciousness.” While unsure about this assessment of Merleau-Ponty, lived somaesthetic reflection, or what the late Sam Mallin called “body phenomenology”—understood as a meditation on the body reflecting on both itself and the world—is my starting point. Another is John Dewey’s bodily theory of perception, augmented somewhat by Merleau-Ponty. -/- With these starting points, I spent roughly 20 hours with St. Benedict Restores Life (...) to a Young Monk (c. 1360), a work of tempera and gold leaf on panel, by Giovanni Del Biondo, active in Italy from 1356 to 1398, on display in the Art Gallery of Ontario’s permanent collection. Following Dewey’s suggestion that “[t]he eye ... is only the channel through which a total response takes place,” meaning that motor, emotional, intellectual and non-visual perceptual capacities become active when we encounter paintings, I describe how the work engaged a range of bodily modalities; and how reflecting on these, in turn, supplied phenomenal articulations of life negating, preserving and enhancing forces important in the culture that produced it, and famously discussed by Friedrich Nietzsche. By virtue of the approach adopted, I also demonstrate Dewey’s belief that intimate engagement with art entails a total coordination of one’s capacities around the artwork, while simultaneously reinforcing Merleau-Ponty’s ideas about perception and how we can find phenomenal articulations of concepts such as the Nietzschean ones just mentioned. While focusing on Del Biondo’s painting, my main purpose is to engage in body phenomenology practices, and to show, in the words of Shusterman, how “[w]e might sharpen our appreciation of art through more attention to our somaesthetic feelings involved in perceiving art” and indeed the world. (shrink)

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines (...) several postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

This article reconstructs Gilles Deleuze’s engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze’s adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze’s complexification of rhythm and his development of a logic (...) of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology. (shrink)

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop a path between (...) conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

In this chapter I look at some questions around the notion of experimentation in philosophy, science, and the arts, through the thought of Gaston Bachelard and Gilles Deleuze. My argument is articulated around three areas of enquiry – Bachelard’s work on the experimental sciences, Deleuze’s notion of philosophy as an experimental practice, and recent musicological debate around the practical and political stakes of the term ‘experimental music’. By drawing together these three senses of experimentation, I test the possibilities of understanding (...) experimentation as a transdisciplinary concept and/or method. I develop a notion of experimentation as open, fluid, and non-hierarchical, but also consider points where such an idea is short-circuited by the reassertion of disciplinary closure and more top-down forms of method. My frame for discussing this question is a commonly posited distinction between the experiment and the experimental. Here the experiment is something like a controlled and closed environment in which a privileged observer tests predefined hypotheses, while the experimental concerns attempts to relinquish such control and to produce contexts in which the unknown and the unexpected can arise. By turning to Bachelard’s studies of the practice of science, I will question the common conception of a disciplinary split between the experiments of science and experimental art, showing both how such a distinction cannot be so neat and how these terms are often not easily separable. Putting this notion into conjunction with recent critical discourse on experimentation in music, namely regarding the kinds of exclusions and closures that the term ‘experimental music’ has produced, and with Deleuze’s criticisms of scientific method as well as the apparent disciplinary closure of his transdisciplinary project that is present and his and Félix Guattari’s final work, What is Philosophy?, I argue that refining our understanding of experimentation as a pluralistic and fragile concept will help us engage with the difficulties raised in these fields. More generally I point towards a project of mapping out the diverse and divergent relations that a transdisciplinary understanding of experimentation may draw between philosophy, science, and art. (shrink)

This article is concerned with the status and stakes of Gilles Deleuze’s “break” with structuralism. With a particular focus on a transitional text of Deleuze, the 1967/1972 article “How Do We Recognize Structuralism?,” it asks how Deleuze understood structuralism and why, after his encounter with Félix Guattari and Guattari’s own transitional text, 1969’s “Machine and Structure,” Deleuze felt the need to break with structuralism. It argues that reading these two texts together allows us to see that Deleuze already perceived tensions (...) within the structuralist project, and argues that Guattari’s non-structural account of the machine allowed Deleuze to clarify this perception, and see it as necessitating a departure from structuralism. To close, however, it turns to recent work by philosophers such as Étienne Balibar and Patrice Maniglier that re-examines the structuralist moment and identifies an ongoing legacy that the “poststructuralism” of Deleuze and Guattari may be part of. By considering Deleuze and Guattari’s break with structuralism in light of this work, this article considers how the polemical rejection of structuralism by Deleuze and Guattari may not fully account for the ongoing legacy of the structuralist program and the persistence of a structuralist problematic in their thought. (shrink)

Here I will put forward a claim about rhythm – that rhythm is relation. To develop this I will explore the entanglement of and antagonism between two notions of the musical avant-garde and its theorization. The first of these is derived from the European classical tradition, the second concerns Afrodiasporic musical practices. This essay comes in two parts. The first will consider some music-theoretical and philosophical ideas about rhythm in the post-classical avant-garde. Here I will explore how these ideas have (...) been used to, on one hand, stage a critique of Afrodiasporic musics, and specifically jazz, and, on the other hand, diminish and obscure the relation between the post-classical and Afrodiasporic avant-gardes. In the second part I will develop another lineage of rhythm, orthogonal to that of the post-classical avant-garde. Drawing from philosophy and Afrocentric, Afromodernist and, finally, Afrofuturist theory, I will map a theoretical move from rhythm understood, in its post-classical guise, as an exclusive and strictly musical category, to rhythm understood as an inclusive and plural category. This likewise charts a passage from an aesthetically autonomous understanding of objects of art to social and collective forms of artistic practice. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...) Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. After discussing some (...) criticisms of ontological and materialist approaches to sound, I consider the Actor-Network Theory (ANT) of Bruno Latour, posed as offering an alternative to these approaches. Following an examination of some limitations to ANT based around the themes of critique and abstraction, I draw from the work of Gilles Deleuze and Georgina Born to suggest that work on improvisation and the posthumanities may be fruitful, but must be part of a pluralistic mode of inquiry that does not reject critique and abstraction, as some work in the posthumanities has done. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can be (...) meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...) “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

This paper is concerned with the aesthetic and discursive gap between music and contemporary art, and the recent attempts to remedy this in the field of New Music through a notion of “New Conceptualism.” It examines why, despite musical sources being central to the emergence of conceptual artistic strategies in the 1950s and ’60s, the worlds of an increasingly transmedial “generic art” and music have remained largely distinct. While it takes New Music’s New Conceptualism as its focus, it argues that (...) the perspective on New Music it takes has wider implications in music and art. It begins by defining what exactly “New Music” refers to, and outlines some of the conditions for the recent rise of conceptualism in New Music. It then takes the work of the composer Johannes Kreidler as a key example of some artistic tendencies and theoretical presuppositions in New Conceptualism. Following this it draws on work in the field of sound studies in order to critically examine the theoretical attempt to connect New Music with contemporary art that is found in the notion of “Music in the Expanded Field.” To conclude it offers some reflections on how a more robust conversation between contemporary art and New Music can begin to be conceived. (shrink)

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, however, is not as (...) transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)

I propose in this text a rhythmic theory of signs drawn from the thought of Gilles Deleuze and Félix Guattari. I name this theory a semiorhythmology. I suggest that the theory of rhythm developed in A Thousand Plateaus (1980) can be understood, in part, as the culmination of the diverse set of inquiries into signs that both Deleuze and Guattari undertook, individually and together, beginning in the 1960s. I first outline Deleuze’s theory of signs as a theory of encounter as (...) developed in Proust and Signs (1964) and Difference and Repetition (1968), following which I sketch Guattari’s engagements with signs and semiotics throughout the 1960s and 1970s, particularly through his notion of “a-signifying semiotics” and the concept of the “diagram” he adapts from the semiotics of Charles Sanders Peirce. I close by showing how these heterogeneous theories of the sign are drawn together in A Thousand Plateaus through the Spinozist reading of the ethology of Jakob von Uexküll and the theorisation of rhythm in the form of the refrain. (shrink)

In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.

Where does agency lie in musical performance? How is it expressed? Recent music scholarship has highlighted an increasingly prominent tendency to conceive of agency as not confined to any one individual or type of individual, instead being distributed across diverse individuals that can be found occupying performance situations. . This article uses two ‘percussion’ works from the 1970s by the composer John Cage, Child of Tree (1975) and its multi-performer elaboration Branches (1976), as a foil for engaging with these practical (...) and theoretical musical concerns, and for suggesting some heretofore underappreciated distinctions within the ongoing work on multi-agential performance. (shrink)

In recent years noise seems to have become an interdisciplinary concept par excellence, apt to capturing important dynamics at work whether in technological, scientific, social, or aesthetic domains. But when economists, biologists, psychologists, and musicians speak of noise, are they really all referring to the same thing? In An Epistemology of Noise Cecile Malaspina takes this dispersion of the notion of noise as a starting point, and moreover accepts that, when removed from its mathematical formulation in information theory and spread (...) into diverse disciplines, noise takes on a metaphorical ambiguity. Yet rather than aiming to eliminate this ambiguity, Malaspina sets out to account for it. The key problem in An Epistemology of Noise is not to identify the legitimate usage of the concept of noise, but rather to examine what happens when noise moves between disciplines, and what the ‘noisiness’ of this movement tells us about the conditions for interdisciplinary knowledge. Noise here is both an object (or many objects) of inquiry and a condition for that inquiry, and presents us with the problem of how knowledge can find its ground in these ‘shifting sands’ (9). (shrink)

Ausgangspunkt ist die Frage, was Masse ist, wodurch sie insbesondere befähigt ist, Dauer zu konstituieren und deshalb - im Sinn des kinematischen Relativitätsprinzips - ebenso als bewegt wie als ruhend betrachtet werden kann. In einem Gedankenexperiment wird diese Frage, in Umkehrung der Perspektive, hier nicht von der Masse selbst, sondern von einer stehenden Lichtwelle her angegangen. In diesem Modell lassen sich masse-analoge Strukturen rekonstruieren, die in relativer Bewegung sein können. Die (empirisch bekannte) Unabhängigkeit der Lichtgeschwindigkeit vom Bezugssystem ist dabei nicht (...) vorausgesetzt. Doch kann gezeigt werden, dass die Lichtgeschwindigkeit Grenzgeschwindigkeit solcher relativer Bewegungen ist, dass dies für alle durch masse-analoge Strukturen konstituierte, relativ zueinander gleichförmig bewegten Bezugssysteme gilt und dass die Lichtgeschwindigkeit selbst in allen diesen Systemen gleich ist. Die Absolutheit der Lichtgeschwindigkeit und die Relativität der Massebewegungen erweisen sich so als zwar differente, aber intrinsisch zusammengehörende Momente des kinematischen Relativitätsprinzips: ein Beitrag zu einer Philosophie der Relativitätstheorie. - Die mathematischen Zusammenhänge werden im Anhang ausführlicher dargelegt. (shrink)

This essay defends a reading of Hegel as a metametaphysical antirealist. Metametaphysical antirealism is a denial that metaphysics has as its subject matter answers to theoretical questions about the mind-independent world. Hence, on this view, metaphysical questions are not, in principle, knowledge transcendent. I hold that Hegel presents a version of metametaphysical antirealism in the Science of Logic because he pursues his project by suspending reference to all supposed objects of metaphysical theory as practiced before him. Hegel introduces reference in (...) his theory only by the self-reference of thought to itself in the Doctrine of the Concept. I motivate the relevance of Hegel’s approach to metaphysics by comparing it to Kit Fine’s (2017) concept of “naïve metaphysics.” I argue that Hegel’s theory results from a comprehensively naïve metaphysics. (shrink)

This book is a translation of W.V. Quine's Kant Lectures, given as a series at Stanford University in 1980. It provide a short and useful summary of Quine's philosophy. There are four lectures altogether: I. Prolegomena: Mind and its Place in Nature; II. Endolegomena: From Ostension to Quantification; III. Endolegomena loipa: The forked animal; and IV. Epilegomena: What's It all About? The Kant Lectures have been published to date only in Italian and German translation. The present book is filled out (...) with the translator's critical Introduction, "The esoteric Quine?" a bibliography based on Quine's sources, and an Index for the volume. (shrink)

In the Transcendental Aesthetic (TA), Kant is typically held to make negative assertations about “things in themselves,” namely that they are not spatial or temporal. These negative assertions stand behind the “neglected alternative” problem for Kant’s transcendental idealism. According to this problem, Kant may be entitled to assert that spatio-temporality is a subjective element of our cognition, but he cannot rule out that it may also be a feature of the objective world. In this paper, I show in a new (...) way how Kant’s view (focusing on his conclusions about space) is not subject to this objection, by showing that he does not make the denial about mind-independent reality that he is typically held to make. The argument develops consequences of a new reading of Kant’s expression “an sich selbst” (‘in itself’; ‘in themselves’). I argue that “an sich selbst” or “per se” has a special, judgment-level role, so that this expression does not form new noun-terms adjectivally. It follows that the conceptual unit of Kant’s “Conclusions” in the TA is simply “things” (Dinge), since “things in themselves” is not a nominal expression; Kant adopts the Wolffian ontological use of “thing” as the basic kind-term for any existent. The arguments that things per se are not in space are arguments that space cannot be a necessary property or relations of things as a kind. I show that this does not involve the positive claim about mind-independent reality that inspires the neglected alternative objection. (shrink)

In this paper, we discuss the ethical concerns that may arise from the synthesis of human DNA. To date, only small stretches of DNA have been constructed, but the prospect of generating human genomes is becoming feasible. At the same time, the significance of genes for identity, health and reproduction is coming under increased scrutiny. We examine the implications of DNA synthesis and its impact on debates over the relationship with our DNA and the ownership of our genes, its potential (...) to disrupt common understandings of reproduction and privacy, and the way in which synthetic DNA challenges traditional associations between genes and identity. We explore the degree to which synthetic DNA may further undermine overgeneticised accounts of identity, health, reproduction, parenthood and privacy that are prevalent in the public domain and in some areas of policy-making. While avoiding making normative claims of our own, we conclude that there is a need for reflection on the ethical implications of these developing technologies before they are on us. (shrink)

This study demonstrates the combinations of multiple causal factors that formulate a startup’s strategy to successfully “exit”, namely “recipes for a successful exit,” in the clean- and hard-tech sector. We identify seven key causal factors (i.e., causal conditions) that impact startup success, including commercial readiness, investor interactions, favorable industry, non-financial support, straightforward development path, experienced team, and visibility to investors. We also investigate the combinations of selective causal conditions that can provide further synergetic impact. We conduct the fuzzy-set qualitative comparative (...) analysis (fsQCA) on seven U.S. clean- and hard-tech startups that exited between 2005 and 2016. The successful companies all demonstrate distinctive characteristics based on three general categories (1) robust ecosystem; (2) heavy-lifting team; or (3) external opportunity. Across these three categories, commercial readiness and strong investor interactions are necessary conditions for all exit cases. But there are important differences that drive success in each category, such as the interaction with non-financial support (in the robust ecosystem case), experienced team (in the heavy-lifting team case), and favorable industry (in the external opportunity case). Our findings are meant to support entrepreneurs in reaching an exit by optimizing the given internal and external circumstances, and policymakers to build a robust ecosystem that can increase the success rate of the clean- and hard-tech development. (shrink)

In this essay I suggest that we view design principles in systems biology as minimal models, for a design principle usually exhibits universal behaviors that are common to a whole range of heterogeneous (living and nonliving) systems with different underlying mechanisms. A well-known design principle in systems biology, integral feedback control, is discussed, showing that it satisfies all the conditions for a model to be a minimal model. This approach has significant philosophical implications: it not only accounts for how design (...) principles explain, but also helps clarify one dispute over design principles, e.g., whether design principles provide mechanistic explanations or a distinct kind of explanations called design explanations. (shrink)

In this paper, I contest increasingly common "realist" interpretations of Hegel's theory of "the concept" (der Begriff), offering instead a "isomorphic" conception of the relation of concepts and the world. The isomorphism recommended, however, is metaphysically deflationary, for I show how Hegel's conception of conceptual form creates a conceptually internal standard for the adequacy of concepts. No "sideways-on" theory of the concept-world relationship is envisioned. This standard of conceptual adequacy is also "graduated" in that it allows for a lack of (...) fit between concept and world. The possibility for a "maximally isomorphic" fit between concept and world obtains through the teleological realization of concepts, which marks especially the "artificial" world of human culture (law, art, religion, etc.). Some of the most seemingly exaggerated claims Hegel makes about the concept, I contend, can be understood when we consider the significance Hegel ascribes to human making, which is provided for in his conceptual theory. But my framework provides an interpretive key for the way Hegel sees concepts imperfectly realized in the natural world as well. (shrink)

Ethical decision-making frameworks assist in identifying the issues at stake in a particular setting and thinking through, in a methodical manner, the ethical issues that require consideration as well as the values that need to be considered and promoted. Decisions made about the use, sharing, and re-use of big data are complex and laden with values. This paper sets out an Ethics Framework for Big Data in Health and Research developed by a working group convened by the Science, Health and (...) Policy-relevant Ethics in Singapore Initiative. It presents the aim and rationale for this framework supported by the underlying ethical concerns that relate to all health and research contexts. It also describes a set of substantive and procedural values that can be weighed up in addressing these concerns, and a step-by-step process for identifying, considering, and resolving the ethical issues arising from big data uses in health and research. This Framework is subsequently applied in the papers published in this Special Issue. These papers each address one of six domains where big data is currently employed: openness in big data and data repositories, precision medicine and big data, real-world data to generate evidence about healthcare interventions, AI-assisted decision-making in healthcare, public-private partnerships in healthcare and research, and cross-sectoral big data. (shrink)

Machine learning algorithms may radically improve our ability to diagnose and treat disease. For moral, legal, and scientific reasons, it is essential that doctors and patients be able to understand and explain the predictions of these models. Scalable, customisable, and ethical solutions can be achieved by working together with relevant stakeholders, including patients, data scientists, and policy makers.

As automating technologies are increasingly integrated into workplaces, one concern is that many of the human workers who remain will be relegated to more dull and less positively impactful work. This paper considers two rival theories of meaningful work that might be used to evaluate particular implementations of automation. The first is achievementism, which says that work that culminates in achievements to workers’ credit is especially meaningful; the other is the practice view, which says that work that takes the form (...) of an open-ended practice is especially meaningful. Of the two, the practice view is the better tool for assessing the future of meaningful work, because achievementism is explanatorily inadequate in two ways. Moreover, the practice view can explain why the most meaningful forms of work cannot be automated. A procedure can only be automated as long as the steps are defined, whereas, in such work, which steps to take is indefinitely open to redefinition. This reveals the real threat to meaningful work to be a political-economic one. The relevant ethical questions there have to do with how much creative control workers retain in crafting their own jobs, when those jobs involve meaningful work in collaboration with machines; and how to liberate workers from jobs that do not involve meaningful work, which should be left to machines anyway. (shrink)

Pada musim semi, entah kenapa, tidak banyak ikan. Karena tangkapannya sangat tidak stabil, Pekakak mulai berpikir. Lalu membuat beberapa rencana. Dengan otoritas komandonya, dia memanggil Bangau: – Ini adalah musim penangkapan ikan yang sangat sulit. Jika kita ingin kenyang, kita harus membuat usaha patungan. Bangau mengangguk, menambahkan: - Saya setuju; mari kita beternak ikan kakap putih dan ikan mas krusia. Jenis ini berumur panjang dan sangat produktif. Pekakak dan Bangau sepakat untuk berbagi tugas beternak, dan tidak ada diskriminasi yang diizinkan. (...) Namun imbalannya berbeda: Pekakak bertanggung jawab untuk ikan kakap putih dan, dengan demikian, dapat memiliki lebih banyak ikan kakap putih, sedangkan Bangau mendapat ikan mas krusia. Siapapun yang memelihara ikan mana yang lebih banyak akan menikmati 80% dari panen akhir ikan tersebut. Keduanya akan mengevaluasi dan membagi produk ternak pada akhir musim beternak. Ini berarti mengantongi sendiri ikan hasil usaha patungan untuk diri sendiri itu dilarang. (shrink)

Suatu pagi di musim panas, desa burung diselimuti keheningan. Semua orang sibuk mendengarkan pengembara baru. Burung pengembara ini berasal dari keluarga yang tidak jelas; bulunya berwarna-warni, gerak-geriknya lucu, dan ilmunya baru. Dia bercerita seolah-olah sedang memberi ceramah, tepat sekali, warga desa memanggilnya burung Guru – orang yang menjawab setiap pertanyaan aneh warga desa yang rajin belajar. Burung pelatuk telah belajar menangkap cacing di sore hari, sehingga mereka tidak perlu bangun pagi. Burung pipit sekarang tahu cara mencuri beras dari gudang saat (...) sawah mulai kering. Bulbul, sementara itu, telah mengambil kesempatan berkumpul untuk memamerkan kecantikan dan fashion mereka… . (shrink)

Tractatus Politico-Philosophicus (Political-Philosophical Treatise) of W. Julian Korab-Karpowicz proposes a new idea-system. Ideas concerning different topics related to politics are introduced. The work aims to establish the principles of good governance and of a happy society, and to open up new directions for the future development of humankind. It is also in part a critique of the epistemology of early Wittgenstein as presented in his Tractatus Logico-Philosophicus. It argues that one can speak about politics and ethics with sense, and that (...) political philosophy is still a viable enterprise for us. This explanation is provided in response to the review of Tractatus Politico-Philosophicus by Katarzyna Heremska and a critical note of Pawel Kloczowski that were both published in Argument 6(1), 2016. (shrink)

Majority cycling and related social choice paradoxes are often thought to threaten the meaningfulness of democracy. But deliberation can prevent majority cycles – not by inducing unanimity, which is unrealistic, but by bringing preferences closer to single-peakedness. We present the first empirical test of this hypothesis, using data from Deliberative Polls. Comparing preferences before and after deliberation, we find increases in proximity to single-peakedness. The increases are greater for lower versus higher salience issues and for individuals who seem to have (...) deliberated more versus less effectively. They are not merely a byproduct of increased substantive agreement. Our results both refine and support the idea that deliberation, by increasing proximity to single-peakedness, provides an escape from the problem of majority cycling. (shrink)

Hegel often says that his "logic" is meant to replace metaphysics. Since Hegel's Science of Logic is so different from a standard logic, most commentators have not treated the portion of that work devoted to logical forms as relevant to this claim. This paper argues that Hegel's discussion of logical forms of judgment and syllogism is meant to be the foundation of his reformation of metaphysics. Implicit in Hegel's discussion of the logical forms is the view that the metaphysical concepts (...) discussed in Books I and II of the Science of Logic supervene on the role of subject and predicate terms in the logical forms discussed in Book III. Hegel thus has an explanation for the nature and significance of metaphysical concepts that resembles Kant's "metaphysical deduction," according to which the categories can be derived from the table of judgments. Though Hegel's metaphysics is often supposed to be influenced by Kant, prevailing interpretations do not show how Hegel's fine-grained treatment of logical forms is relevant to his critical view of metaphysics. The present interpretation provides a model for Hegel's explanation of metaphysical concepts, as well as a new picture of the structure of his Science of Logic that emphasizes the priority of its Doctrine of the Concept. (shrink)

While the idea of philosophy as conceptual analysis has attracted many adherents and undergone a number of variations, in general it suffers from an authority problem with two dimensions. First, it is unclear why the analysis of a concept should have objective authority: why explicating what we mean should express how things are. Second, conceptual analysis seems to lack intersubjective authority: why philosophical analysis should apply to more than a parochial group of individuals. I argue that Hegel’s conception of social (...) ontology, focused on his concept of “ethical life” (Sittlichkeit), helps to explain how concepts (and their explication) have both objective and intersubjective authority in the social domain. Hegel claims that modern institutions are the product of self-conscious purposes, so that they are conceptually constituted. Concepts do not just represent these objects and so depend on a contingent relation to them. As many contemporary social ontologists agree, this means that our concepts of these institutions are uniquely epistemically “transparent.” They have objective authority. Concepts have intersubjective authority in the modern world as well, according to Hegel. However, I show that this feature of Hegel’s account does not rely on the solution to a philosophical problem. Rather, since the concepts of modern ethical life are “essentially contested,” their content depends on the practical and political agreement of modern subjects. This means that concepts can only have objective authority if some prior intersubjective agreement has been reached. The role of philosophy as conceptual analysis is thus importantly dependent on political developments. (shrink)

This book extends the concept of linguistic coordinate geometry using linguistic planes or semi-linguistic planes. In the case of coordinate planes, we are always guaranteed of the distance between any two points in that plane. However, in the case of linguistic and semi-linguistic planes, we can not always determine the linguistic distance between any two points. This is the first limitation of linguistic planes and semi-linguistic planes.

In this book, authors, for the first time, introduce the new notion of special subset linguistic topological spaces using linguistic square matrices. This book is organized into three chapters. Chapter One supplies the reader with the concept of ling set, ling variable, ling continuum, etc. Specific basic linguistic algebraic structures, like linguistic semigroup linguistic monoid, are introduced. Also, algebraic structures to linguistic square matrices are defined and described with examples. For the first time, non-commutative linguistic topological spaces are introduced. The (...) notion of a linguistic special subset of doubly non-commutative topological spaces of linguistic topological spaces is introduced in this book. (shrink)

This essay constitutes an attempt to probe the very idea of a saying/showing distinction of the kind that Wittgenstein advances in the Tractatus—to say what such a distinction consists in, to say what philosophical work it has to do, and to say how we might be justified in drawing such a distinction. Towards the end of the essay the discussion is related to Wittgenstein’s later work. It is argued that we can profitably see this work in such a way that (...) a saying/showing distinction arises there too. In particular, in the final sub-section of the essay, it is suggested that we can see in Wittgenstein’s later work an inducement to say what we are shown. (shrink)

The Swiss psychologist Jean Piaget contends that children below the age of 12 see no necessity for the logical law of non-contradiction. I argue this view is problematic. First of all, Piaget's dialogues with children which are considered supportive of this position are not clearly so. Secondly, Piaget underestimates the necessary nature of following the logical law of non-contradiction in everyday discourse. The mere possibility of saying something significant and informative at all presupposes that the law of non-contradiction is enforced.

It is commonly assumed that the expression “an sich selbst” (“in itself”) in Kant combines with terms to form complex nouns such as “thing in itself” and “end in itself.” I argue that the basic use of “an sich selbst” in Kant’s German is as a sentence adverb, which has the role of modifying subject-predicate combinations, rather than either subject or predicate on their own. Expressions of the form “S is P an sich selbst” mean roughly that S is P (...) ‘in its own right’ or without some further ‘condition’. Accordingly, “an sich selbst” should not be treated as forming complex nouns. This analysis has significant consequences for the interpretation of “thing in itself” in particular, for it implies that the latter is not a complete nominal expression. Instead, one must treat ‘an sich selbst’ as expressing how some S is a ‘thing’, looking to the wider sentential context. I conclude with a brief account of the new significance granted to the concept of a ‘thing’ (Ding) according to the present interpretation. (shrink)

The current study is a pilot trial to examine the effects of a nonelective, classroom-based, teacher-implemented, mindfulness meditation intervention on standard clinical measures of mental health and affect in middle school children. A total of 101 healthy sixth-grade students (55 boys, 46 girls) were randomized to either an Asian history course with daily mindfulness meditation practice (intervention group) or an African history course with a matched experiential activity (active control group). Self-reported measures included the Youth Self Report (YSR), a modified (...) Spielberger State-Trait Anxiety Inventory, and the Cognitive and Affective Mindfulness Measure –Revised. Both groups decreased significantly on clinical syndrome subscales and affect but did not differ in the extent of their improvements. Meditators were significantly less likely to develop suicidal ideation or thoughts of self-harm than controls. These results suggest that mindfulness training may yield both unique and non-specific benefits that are shared by other novel activities. (shrink)

Nudging works through dispositions to decide with specific heuristics, and has three component parts. A nudge is a feature of an environment that enables such a disposition; a person is nudged when such a disposition is triggered; and a person performs a nudged action when such a disposition manifests in action. This analysis clarifies an autonomy-based worry about nudging as used in public policy or for private profit: that a person’s ability to reason well is undermined when she is nudged. (...) Reasoning well is a component of self-guidance, which is an aspect of autonomy and so something there is reason to promote, preserve, or respect. However, a person can reason well when she is nudged: Many of these heuristics are good rules to reason with, and she can be flexible with respect to them when she takes there to be a better way to reason. Along the way, this paper uncovers several design specifications for responsible nudging, and discusses open empirical questions. However, nudging’s being compatible with reasoning well crystallizes a distinct worry about manipulation: that nudge designers can rely on nudged people guiding themselves toward the designers’ own ends. Manipulation of this sort exploits one aspect of autonomy (namely, self-guidance) to undermine autonomy in other respects. (shrink)

Things and Their Place in Theories Our talk of external things, our very notion of things, is just a conceptual apparatus that helps us to foresee and ...

European Journal of Philosophy, Volume 29, Issue 4, Page 1026-1038, December 2021.

ArgumentIn the United States, scientific knowledge is brought before the courts by way of testimony – the testimony of scientific experts. We argue that this expertise is best understoodfirstas related to the quality of the underlying scienceand thenin terms of who delivers it. Bloodstain pattern analysis (BPA), a contemporary forensic science, serves as the vaulting point for our exploration of objectivity as a metric for the quality of a science in judicial contexts. We argue that BPA fails to meet the (...) minimal standard set by Helen Longino’s social-procedural account of objectivity (1990, 2002). In light of some pressing issues for social-procedural accounts, we offer an infrastructural account of objectivity. This account offers what amounts to a friendly amendment to Longino’s account and adds to the ways in which we might analyze social-procedural objectivity. Finally, we address an issue that is pressing in the legal context: given that scientific knowledge is delivered by individuals, not communities, at least in U.S. courts, we (may) need a way to evaluate individual scientific and epistemic agents. We suggest a means for making this evaluation that is derived from our infrastructural account of objectivity. (shrink)

Traditionally, the ideas of “intuitive” and “discursive” forms of understanding have been seen as near opposites. Whereas an intuitive understanding could have a direct grasp of something, a discursive understanding would always depend on what is given to it, as mediated by concepts. In this essay, I suggest that Paul Ricoeur’s conception of analogy presents a way of overcoming this opposition. For Ricoeur, an analogy works within discursive understanding, but it depends on an eventful insight that leads beyond what is (...) merely given in discourse. The analogy “gives more” for thought. Yet, as I argue, what analogy gives for thought is always explicable in conceptual terms: any intuitive understanding is commensurate with a discursive one. I illustrate Ricoeur’s mediation of discursive and intuitive understanding in particular with his conception of metaphor, which vividly depends on overcoming a discursive contradiction by analogical and intuitive means. Before introducing Ricoeur’s conception, I discuss the Kantian background of the intuitive/discursive distinction. In particular, I suggest how Goethe’s attempt to revitalize a notion of intuitive understanding can be compared to Ricoeur’s conception, though Ricoeur improves upon Goethe by grounding intuition in the specific phenomenon of analogy. (shrink)