American Muslims increasingly negotiate their relation to a government that is suspicious of Islam, yet which is legally obligated to recognize them as rights-bearing citizens. To better understand how the post-9/11 state is reshaping American Islam, I examine the case of Muslim American dissident Tarek Mehanna, sentenced to seventeen years in prison for providing material support for terrorism, on the basis of his controversial words (USA v. Mehanna et al, 2012). I situate Mehanna’s writing and reflections within a long history (...) of American activism, in particular the traditions represented by Henry David Thoreau and John Brown. -/- . (shrink)

This presentation of Aristotle's natural deduction system supplements earlier presentations and gives more historical evidence. Some fine-tunings resulted from conversations with Timothy Smiley, Charles Kahn, Josiah Gould, John Kearns,John Glanvillle, and William Parry.The criticism of Aristotle's theory of propositions found at the end of this 1974 presentation was retracted in Corcoran's 2009 HPL article "Aristotle's demonstrative logic".

This paper raises obvious questions undermining any residual confidence in Mates work and revealing our embarrassing ignorance of true nature of Stoic deduction. It was inspired by the challenging exploratory work of JOSIAH GOULD.

The modern synthesis in evolutionary biology is taken to be that period in which a consensus developed among biologists about the major causes of evolution, a consensus that informed research in evolutionary biology for at least a half century. As such, it is a particularly fruitful period to consider when reflecting on the meaning and role of chance in evolutionary explanation. Biologists of this period make reference to “chance” and loose cognates of “chance,” such as: “random,” “contingent,” “accidental,” “haphazard,” or (...) “stochastic.” Of course, what an author might mean by “chance” in any specific context varies. -/- In the following, we first offer a historiographical note on the synthesis. Second, we introduce five ways in which synthesis authors spoke about chance. We do not take these to be an exhaustive taxonomy of all possible ways in which chance meaningfully figures in explanations in evolutionary biology. These are simply five common uses of the term by biologists at this period. They will serve to organize our summary of the collected references to chance and the analysis and discussion of the following questions: • What did synthesis authors understand by chance? • How did these authors see chance operating in evolution? • Did their appeals to chance increase or decrease over time during the synthesis? That is, was there a “hardening” of the synthesis, as Gould claimed (1983)? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why Gaia?Massimo Pigliucci (bio)The Gaia Hypothesis: Science on a Pagan Planet, Michael Ruse, Chicago: University of Chicago Press, 2013. 272 pages.“The Gaia Hypothesis: Science on a Pagan Planet tells a story that comes out of the 1960s, a story that reflects all of the beliefs and enthusiasms and tensions of that decade.” So begins Michael Ruse’s fascinating, if at times puzzling, exploration of James Lovelock’s famous idea that our (...) planet is, in a serious scientific sense, a living organism with a tendency of taking care of (her)self. But why tell this particular story, especially considering that Gaia hardly makes an appearance in today’s scientific or philosophical publications, and doesn’t even seem quite that popular with the lay public as it used to be? Because, as Ruse tells us near the end of the book, at the onset of chapter seven: “the paradox that set us on our path [is] why the scientific community reacted so negatively to the Gaia hypothesis, whereas the public reaction was so positive.”As it turns out, there is a good answer to that conundrum, one that Ruse himself lays out clearly in the last chapter of the book, and which makes the reader wonder why this should count a paradox at all. But we will get there in due time. First, the basics: the so-called Gaia hypothesis is the brainchild of iconoclastic inventor-turned-independent-scientist James Lovelock, who later got significant help in elaborating (and promoting) his ideas from another iconoclast, biologist Lynn Margulis. By the time you get to the end of Ruse’s engaging book, however, you won’t have gained a particularly good understanding of what the hypothesis actually consists. But that’s not Ruse’s fault, it is Lovelock’s (and Margulis’). At times it sounds like the entirely uncontroversial claim that the Earth’s [End Page 117] biosphere is a somewhat homeostatic system—i.e., a biophysical system that is resistant to major changes, at the least within a certain range (the planet’s atmosphere, after all, did change dramatically early on, increasing its oxygen content as a result of the evolution of photosynthetic organisms—the anaerobic life forms that had up to that point been dominant did not appreciate the novelty). At other times the claim is downright preposterous: the Earth literally is a living organism (according to Lovelock) (Chapter 7),1 a finding that allegedly puts in question the whole Darwinian view of biological evolution (according to Margulis) (Chapter 7), a position that can only be characterized as nonsense on stilts. At yet other moments, Gaia is presented as just a metaphor to help us wrap our minds around the complexities (and homeostatic properties) of the world’s ecosystems (Chapter 8). It is this never-ending oscillation between the trivial and the bizarre that has led the majority of scientists to write off Gaia, to the chagrin of Lovelock, Margulis, and a large number of New Age tree huggers from the 1960s.Indeed, the scientific reaction to Gaia was swift and ranging from the condescending to the unforgiving. Evolutionary biologist John Maynard Smith—never one to mince words—called it “an evil religion” (Chapter 2). Another evolutionary biologist, Stephen Jay Gould (whose own disagreements with Maynard Smith became legendary) said that “Gaia strikes me as a metaphor, not a mechanism” (Chapter 2). Ecologist Robert May, who eventually became president of the Royal Society, called Lovelock “a holy fool” (Chapter 2). The highly respected theoretical biologist W.D. Hamilton said that in order for the hypothesis to work, it would require “treaties between Neptune and Zeus, a Gaian Interpol, conventions about bills of lading for chemical transport by air and water, and so on” (Chapter 7). Finally, Richard Dawkins accused Lovelock of committing the fallacy of “the BBC theorem,” assuming (or wishfully thinking) that the world is a harmonious place, just like in naive BBC nature documentaries (Chapter 2).You get the gist: pretty much from the beginning, and with very few exceptions, the scientific establishment rejected Gaia on the grounds that it is not a scientific hypothesis at all, and that its main tenets actually go against pretty... (shrink)

This paper argues that the role of knowledge in the explanation and production of intentional action is as indispensable as the roles of belief and desire. If we are interested in explaining intentional actions rather than intentions or attempts, we need to make reference to more than the agent’s beliefs and desires. It is easy to see how the truth of your beliefs, or perhaps, facts about a setting will be involved in the explanation of an action. If you believe (...) you can stop your car by pressing a pedal, then, if your belief is true, you will stop. If it is false, you will not. By considering cases of unintentional actions, actions involving luck and cases of deviant causal chains, I show why knowledge is required. By looking at the notion of causal relevance, I argue that the connection between knowledge and action is causal and not merely conceptual. (shrink)

I argue against the orthodox view of the relationship between propositional and doxastic justification. The view under criticism is: if p is propositionally justified for S in virtue of S's having reason R, and S believes p on the basis of R, then S's belief that p is doxastically justified. I then propose and evaluate alternative accounts of the relationship between propositional and doxastic justification, and conclude that we should explain propositional justification in terms of doxastic justification. If correct, this (...) proposal would constitute a significant advance in our understanding of the sources of epistemic justification. (shrink)

Epistemic reasons are mental states. They are not propositions or non-mental facts. The discussion proceeds as follows. Section 1 introduces the topic. Section 2 gives two concrete examples of how our topic directly affects the internalism/externalism debate in normative epistemology. Section 3 responds to an argument against the view that reasons are mental states. Section 4 presents two problems for the view that reasons are propositions. Section 5 presents two problems for the view that reasons are non-mental facts. Section 6 (...) argues that reasons are mental states. Section 7 responds to objections. (shrink)

In this essay I show how to reconcile epistemic invariantism with the knowledge account of assertion. My basic proposal is that we can comfortably combine invariantism with the knowledge account of assertion by endorsing contextualism about speech acts. My demonstration takes place against the backdrop of recent contextualist attempts to usurp the knowledge account of assertion, most notably Keith DeRose's influential argument that the knowledge account of assertion spells doom for invariantism and enables contextualism's ascendancy.

A viable theory of literary humanism must do justice to the idea that literature offers cognitive rewards to the careful reader. There are, however, powerful arguments to the effect that literature is at best only capable of offering idle visions of a world already well known. In this essay I argue that there is a form of cognitive awareness left unmentioned in the traditional vocabulary of knowledge acquisition, a form of awareness literature is particularly capable of offering. Thus even if (...) it is the case that literature has nothing interesting to give us in the way of knowledge, the literary humanist can consistently maintain that literary experience is thoroughly cognitive. (shrink)

Conceptualism is the thesis that, for any perceptual experience E, (i) E has a Fregean proposition as its content and (ii) a subject of E must possess a concept for each item represented by E. We advance a framework within which conceptualism may be defended against its most serious objections (e.g., Richard Heck's argument from nonveridical experience). The framework is of independent interest for the philosophy of mind and epistemology given its implications for debates regarding transparency, relationalism and representationalism, demonstrative (...) thought, phenomenal character, and the speckled hen objection to modest foundationalism. (shrink)

Does self?knowledge help? A rationalist, presumably, thinks that it does: both that self?knowledge is possible and that, if gained through appropriate channels, it is desirable. Descartes notoriously claimed that, with appropriate methods of enquiry, each of his readers could become an expert on herself or himself. As well as the direct, first?person knowledge of self to which we are led in the Meditationes , we can also seek knowledge of our own bodies, and of the union of our minds and (...) our bodies: the latter forms of self?knowledge are inevitably imperfect, but are no less important in guiding our conduct in the search after truth. (shrink)

One fairly common view about practical reason has it that whether you have a reason to act is not determined by what you know, or believe, or are justified in believing. Your reasons are determined by the facts. Perhaps there are two kinds of reasons, and however it goes with motivating reasons, normative reasons are determined by the facts, not your take on the facts. One fairly common version of this view has it that what's reasonable for you to do (...) is determined by what you know or believe. Any view that drives this kind of wedge between reasons and rationality is inherently unstable. I argue against this view, criticize the arguments typically presented in its favor, and sketch an alternative. (shrink)

It is often assumed that literary meaning is essentially linguistic in nature and that literary interpretation is therefore a purely linguistic affair. This essay identifies a variety of literary meaning that cannot be reduced to linguistic meaning. Meaning of this sort is generated not by a communicative act so much as through a creative one: the construction of a fictional world. The way in which a fictional world can bear meaning turns out to be strikingly unlike the way a sentence (...) can, and this, I argue, has important implications for the theory of interpretation. (shrink)

This article accomplishes two closely connected things. First, it refutes an influential view about the relationship between perception and knowledge. In particular, it demonstrates that perceiving does not entail knowing. Second, it leverages that refutation to demonstrate that knowledge is not the most general factive propositional attitude.

I argue that you can have a priori knowledge of propositions that neither are nor appear necessarily true. You can know a priori contingent propositions that you recognize as such. This overturns a standard view in contemporary epistemology and the traditional view of the a priori, which restrict a priori knowledge to necessary truths, or at least to truths that appear necessary.

The artefacts produced by artists during their creation of works of art are very various: paintings, writings, musical scores, and so on. I have a general thesis to offer about the relations of artefacts and artworks, but within the confines of this article I shall mainly discuss cases drawn from the art of painting, central specimens of which seem to be autographic in Nelson Goodman's sense, namely such that even the most exact duplication of them does not count as producing (...) the same work of art. My view will be that an artwork (such as a painting) and its associated artefact are not identical, and nor is the artefact in any sense part of the painting in question,2 but that nevertheless it is still possible to maintain the view that paintings are autographic (which view I shall call l the autographic thesis). I shall proceed initially through presentation of some counter-examples to common assumptions as to the relations of artefacts and artworks, and then present an alternative 'representational' theory of their relations. (shrink)

This paper critically evaluates the regress argument for infinitism. The dialectic is essentially this. Peter Klein argues that only an infinitist can, without being dogmatic, enhance the credibility of a questioned non-evident proposition. In response, I demonstrate that a foundationalist can do this equally well. Furthermore, I explain how foundationalism can provide for infinite chains of justification. I conclude that the regress argument for infinitism should not convince us.

The category of works of fiction is a very broad and heterogeneous one. I do have a general thesis in mind about such works, namely, that they themselves are fictional, in much the same way as are the fictional events or entities that they are about. But a defense of such a broad thesis would provide an intractably complex topic for an introductory essay, so I shall here confine myself to a presentation of a similar thesis for narrative theatrical works (...) or plays, performances of which are naturally regarded as involving, or evoking, a “fictional world” whose fictional characters and events are what the work in question is about. Another reason for initially focusing on such narrative plays is because performances of them provide a rich source of epistemic issues about evidence for artistic authenticity or correctness of artworks, which will turn out to be of integral importance to my fictionalist account of plays. (shrink)

The representational content or subject matter of a picture is normally distinguished from various non-representational components of meaning involved in artworks, such as expressive, stylistic or intentional factors. However, I show how such non subject matter components may themselves be analyzed in content terms, if two different categories of representation are recognized--aspect indication for stylistic etc. factors, and normal representation for subject matter content. On the account given, the relevant kinds of content are hierarchically structured, with relatively unconceptualized lower level (...) aspectual contents encoding or symbolizing higher level conceptualized representational subject matter. Such an account is strongly supported by the latest findings of cognitive science regarding levels of conceptualization. The paper also demonstrates how the account given is compatible with the actual pictorial competence of normal viewers of visual artworks. (shrink)

C. I. Lewis (I883-I964) was the first major figure in history and philosophy of logic—-a field that has come to be recognized as a separate specialty after years of work by Ivor Grattan-Guinness and others (Dawson 2003, 257).Lewis was among the earliest to accept the challenges offered by this field; he was the first who had the philosophical and mathematical talent, the philosophical, logical, and historical background, and the patience and dedication to objectivity needed to excel. He was blessed with (...) many fortunate circumstances, not least of which was entering the field when mathematical logic, after only six decades of toil, had just reaped one of its most important harvests with publication of the monumental Principia Mathematica. It was a time of joyful optimism which demanded an historical account and a sober philosophical critique. Lewis was one of the first to apply to mathematical logic the Aristotelian dictum that we do not understand a living institution until we see it growing from its birth. (shrink)

The most cursory examination of the history of artificial intelligence highlights numerous egregious claims of its researchers, especially in relation to a populist form of ‘strong’ computationalism which holds that any suitably programmed computer instantiates genuine conscious mental states purely in virtue of carrying out a specific series of computations. The argument presented herein is a simple development of that originally presented in Putnam’s (Representation & Reality, Bradford Books, Cambridge in 1988 ) monograph, “Representation & Reality”, which if correct, has (...) important implications for turing machine functionalism and the prospect of ‘conscious’ machines. In the paper, instead of seeking to develop Putnam’s claim that, “everything implements every finite state automata”, I will try to establish the weaker result that, “everything implements the specific machine Q on a particular input set ( x )”. Then, equating Q ( x ) to any putative AI program, I will show that conceding the ‘strong AI’ thesis for Q (crediting it with mental states and consciousness) opens the door to a vicious form of panpsychism whereby all open systems, (e.g. grass, rocks etc.), must instantiate conscious experience and hence that disembodied minds lurk everywhere. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a replacement of (...) the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (shrink)

What is the relation between works of fiction and the acquisition of knowledge?

A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...) a view, including the following. Content views of linguistic communication are ubiquitous, so why should they not be applicable in artistic cases as well? Also, propositional accounts of language involve two kinds of content (the proposition expressed by a sentence, plus the worldly state of affairs it represents), both of which kinds can be used in explaining artworks. In addition, the differing modal properties of artworks and concrete artefacts can be used to show that artworks could not be, or include, such physical artefacts. (shrink)

In "A Restriction for Pictures and Some Consequences for a Theory of Depiction", Journal of Aesthetics and Art Criticism 61, 4 (2003): 381-394, Michael Newall defended a resemblance view of depiction. He concentrated on pictures X involving a perpendicular view of the physical surface of another picture Y, and argued that the actual restrictions on what picture X can depict of Y's physical surface are best explained by a strict resemblance or similarity view. But I show that there are many (...) problems with his approach, so that overall it is no more successful than more standard resemblance views of depiction. (shrink)

While there are numerous differences between the approaches taken by Maurice Merleau-Ponty and James J. Gibson, the basic motivation of the two thinkers, as well as the internal logic of their respective views, is extraordinarily close. Both were guided throughout their lives by an attempt to overcome the dualism of subject and object, and both devoted considerable attention to their "Gestaltist" predecessors. There can be no doubt but that it is largely because of this common cause that the subsequent development (...) of their ideas is so similar. It is not my objective in what follows merely to demonstrate a similarity between two lines of thought. Instead, I will try to show that each approach gains considerably from attention to the other. There are numerous ways to begin such a project, each about as arbitrary as the next. For present purposes, I shall take as of central importance the question of the character of the perceived world, both in relation to the traditionally opposed mental and material "substances", and in relation to its identification and individuation of things vis a vis one another and vis a vis ourselves. This will implicate especially Gibson's "affordances" and Merleau-Ponty's thesis concerning the "materiality of meaning.". (shrink)

I propose a distinction between design intentions, activities and products, as opposed to artistic intentions, activities and artworks. Examples of design products would include a specific type of car (or any other invention or device) as well as closer relatives of art such as decorative wall designs. In order to distinguish artistic from design intentions, I present an example in which two sculptors independently work on a single object to produce two sculptures, which are distinct just because the artistic intentions (...) of the sculptors are distinct. This case is then contrasted with an attempted parallel example for design intentions, which fails to produce two correspondingly distinct design products in spite of the different design intentions of its designers. I argue that this failure occurs because designs are types, for which any single token of a given type could not simultaneously be a token of some other type of the same general kind; whereas the possibility of my sculptural 'double artwork' example shows that such artworks cannot be types. I then further investigate the concept of a design, and conclude by arguing that an extension of my sculptural example shows that literary artworks also cannot be types. (shrink)

thesis as to the inseparability of the perception of a picture and the perception of its subject matter, making use of a recently developed ‘interpretive’ theory of pictorial representation, according to which a picture is represented by its physical vehicle, so that a picture is itself part of the representational content of the vehicle—which picture in turn interpretively represents its subject matter. I also show how Richard Wollheim's own twofoldness thesis, along with related views of his, might be vindicated by (...) reinterpretation along similar lines, and conclude by showing that Ernst Gombrich too may be protected from some standard criticisms of his views—which views are also consistent with those of Wollheim as thus reinterpreted. (shrink)

In this paper I shall argue that the relations between metaphorical and literal kinds of language may be illuminated and clarified by comparison with corresponding differences and similarities between representing and represented objects. A kind of "picture theory" of metaphorical language will be proposed (though one which draws more on Wittgenstein's Investigations than on the Tractatus), in which successful metaphorical phrases are taken as being about things which are capable (in context) of being seen or recognized as representing or depicting (...) that which the words ordinarily refer to or describe when being used literally. (shrink)

Ridley’s overall strategy, in bare outline form, seems to be this. Collingwood's points about the close connections between artistic expression and physical involvement with a medium are so good that anything else he says must be reinterpreted so as to be consistent with these Expression insights. In particular his overall theory of art, usually interpreted as an "Ideal theory" (according to which a work of art is somehow "in the head", perhaps as the content of a mental imaginative act of (...) expression) must be charitably reinterpreted to remove any apparent references to such mental entities. I spell out two related puzzlements with this strategy. (shrink)

Issues concerning the spatial orientation of pictures play an important, though previously neglected, role in an adequate understanding of the nature and identity of visual artworks and other pictures. Using a previous contrast ('Artworks Versus Designs', BJA Vol. 41, No. 4, October 2001), I show that differing orientations of a design naturally give rise to distinct pictures, which may be appropriated as distinct artworks by a discerning artist--which also shows that such artworks cannot be types, since they share a common (...) token. The investigation also raises some significant issues concerning artistic printmaking, and strongly suggests in addition that two new concepts of interpretation--of identifying and constitutive interpretation--are required to adequately explain the artistic phenomena that are uncovered. (shrink)

Plays, symphonies and other works in the performing arts are generally regarded, ontologically speaking, as being types, with individual performances of those works being regarded as tokens of those types. But I show that there is a logical feature of type theory which makes it impossible for such a theory to satisfactorily explain a 'double performance' case that I present: one in which a single play performance is actually a performance of two different plays. Hence type theories fail, both for (...) plays and for the related performing art of music as well. (shrink)

In her 2004 book Carol Gould addresses the fundamental issue of democratizing globalization, that is to say of finding ways to open transnational institutions and communities to democratic participation by those widely affected by their decisions. The book develops a framework for expanding participation in crossborder decisions, arguing for a broader understanding of human rights and introducing a new role for the ideas of care and solidarity at a distance. Reinterpreting the idea of universality to accommodate a multiplicity of (...) cultural perspectives, the author takes up a number of applied issues, including the persistence of racism, cultural rights, women's human rights, the democratic management of firms, the use of the Internet to enhance political participation, and the importance of empathy and genuine democracy in understanding terrorism and responding to it. Accessibly written with a minimum of technical jargon this is a major contribution to political philosophy. (shrink)

Reasoning about mental states and processes is important in various subareas of the legal domain. A trial lawyer might need to reason and the beliefs, reasoning and other mental states and processes of members of a jury; a police officer might need to reason about the conjectured beliefs and reasoning of perpetrators; a judge may need to consider a defendant's mental states and processes for the purposes of sentencing and so on. Further, the mental states in question may themselves be (...) about the mental states and processes of other people. Therefore, if AI systems are to assist with reasoning tasks in law, they may need to be able to reason about mental states and processes. Such reasoning is riddled with uncertainty, and this is true in particular in the legal domain. The article discusses how various different types of uncertainty arise, and shows how they greatly complicate the task of reasoning about mental states and processes. The article concentrates on the special case of states of belief and processes of reasoning, and sketches an implemented, prototype computer program (ATT-Meta) that copes with the various types of uncertainty in reasoning about beliefs and reasoning. In particular, the article outlines the system's facilities for handling conflict between different lines of argument, especially when these lie within the reasoning of different people. The system's approach is illustrated by application to a real-life mugging example. [NB: The date on the archived preprint avail via this Phil* page has an incorrect date, 2011, on it. The correct date is 2001.]. (shrink)

Très souvent, on compte sur la science pour nous sauver. Le rapport qu'on établit avec elle peut donner à penser que la science parlerait ainsi de choses, validerait quelque chose comme des évidences immédiates. La connaissance scientifique est inférentielle. Si elle a un objet, ce qu'en rigueur de termes la philosophie n'a pas, elle doit néanmoins se mettre à distance de lui pour se faire science. Elle valide ainsi des schèmes abstraits, qui ne sont scientifiques que dans cette mesure. Nous (...) prendrons la mesure du fait que pour nous aider à retrouver le concret, l'intuition est meilleure guide que la science, et puis nous convoquerons certaines idées de l'algébriste et métaphysicien Alfred North Whitehead dont l'actualité ne cesse d'étonner, lorsqu'il inverse l'accès direct au réel, à l'envers de la vulgate reçue concernant les rapports entre science et religion. (shrink)

This paper clarifies and evaluates a premise of William Alston’s argument in Perceiving God. The premise in question: if it is practically rational to engage in a doxastic practice, then it is epistemically rational to suppose that said practice is reliable. I first provide the background needed to understand how this premise fits into Alston’s main argument. I then present Alston’s main argument, and proceed to clarify, criticize, modify, and ultimately reject Alston’s argument for the premise in question. Without this (...) premise, Alston’s main argument fails. (shrink)

In this paper, I challenge a familiar argument -- a composite of arguments in the literature -- for the view that “Why be moral?” is a pseudo-question. I do so by refuting a component of that argument, a component that is not only crucial to the argument but important in its own right. That component concerns the status of moral reasons in replies to “Why be moral?”; consequently, this paper concerns reasons and rationality no less than it concerns morality. The (...) work I devote to those topics shows not only that the argument I address is unsound, but that the conclusion of that argument is false. “Why be moral?” is no pseudo-question. (shrink)

In this article, seven strategies for dealing with cross-cultural ethical conflict are described. Conflict situations are classified on the basis of centrality and consensus on the values involved, influence of the decision maker, and urgency. A contingency model suggests appropriate strategies for different situations. The model is applied to representative cases of cross-cultural ethical conflict.

The key problem for normative (or moral) cultural relativism arises as soon as we try to formulate it. It resists formulations that are (1) clear, precise, and intelligible; (2) plausible enough to warrant serious attention; and (3) faithful to the aims of leading cultural relativists, one such aim being to produce an important alternative to moral universalism. Meeting one or two of these conditions is easy; meeting all three is not. I discuss twenty-four candidates for the label "cultural relativism," showing (...) that not one meets all three conditions. In the end I conclude that cultural relativists have produced nothing that threatens universalism. (shrink)

There is a problem regarding God and perception right at the heart of Berkeley ’s metaphysics. With respect to this problem, I will argue for : It is intractable. Berkeley has no solution to this problem, and neither can we hope to offer one on his behalf. However, I will also argue for : The truth of need not be seen as threatening the viability of Berkeley ’s metaphysics. In fact, it may even be seen as speaking in its favor.

There is a growing realization of the need to promote a constructive dialogue between science and religion both in the scientific and the religious community. Accommodationism based on the concept of nonoverlapping magisteria is arguably the dominant trend in the effort to achieve this goal. Yet despite the fact that accommodationism has many supporters, it has so far failed to promote a productive engagement between science and religion. The article argues that such engagement requires a critical re-examination of the principal (...) tenets, self-evident truths, and intuitions by both the scientific and the religious community. It further argues that despite isolated efforts seeking to promote such re-examination in both domains, neither the scientific nor the religious establishment shows much willingness to pursue this course. Rather they prefer to follow a conservative agenda and impose limits on reason that are designed to protect the status quo. (shrink)

Nuestro interés en el contenido mental no-conceptual es, principalmente, la articulación de una versión sustantiva (no-trivial) de esta clase de contenido en la experiencia perceptual. El debate acerca del contenido no-conceptual ha girado, en su mayor parte, alrededor de su existencia; y los argumentos que se han ofrecido en su favor abogan por una versión no sustantiva según la cual el contenido no-conceptual es aquel que no satisface ciertos requisitos conceptuales. Así, para desarrollar una versión sustantiva del contenido mental no-conceptual (...) hemos apelado a la versión de la experiencia perceptual de propiedades espaciales ofrecida por Evans (1982 cap. 6). A partir de esto desarrollamos un nuevo argumento a favor del contenido no-conceptual de la experiencia perceptual que lo vincula a la actividad característica de la experiencia perceptual. Por último, exponemos uno de los ataques de McDowell (1996) a la noción de contenido no-conceptual y presentamos nuestras réplicas a este ataque, mostrando su insuficiencia. Al mostrar que la crítica de McDowell no es exitosa, consideramos que podríamos tener una versión del contenido no-conceptual de la experiencia que es inmune a esta línea de argumentación. (shrink)

I respond to an objection against satisficing consequentialism, due to Tim Mulgan.

Remembering seems, to philosophers and scientists, one of the most mystifying of human activities. Yet natural language users have no problem understanding what is meant by ‘memory’. Memory is simply the ability to recall personally experienced events and certain kinds of information such as facts, names, or faces; or how to perform certain actions, like riding a bike or playing chess. It is on this basis that people sometimes make claims about themselves or others having a good or bad memory, (...) especially for things like names, numbers, or faces. Why then is memory such a mystery? Because, firstly, of its diversity: memory enables us to perform a plethora of different tasks, including the continuous interpretation of every moment of consciousness. Secondly, different forms of memory have different standards of accuracy, and often dramatically different criteria for success. (shrink)

A counterfactual is a conditional statement in the subjunctive mood. For example: If Suzy hadn’t thrown the rock, then the bottle wouldn’t have shattered. The philosophical importance of counterfactuals stems from the fact that they seem to be closely connected to the concept of causation. Thus it seems that the truth of the above conditional is just what is required for Suzy’s throw to count as a cause of the bottle’s shattering. If philosophers were reluctant to exploit this idea prior (...) to 1970, it was because of a widespread feeling that the truth-conditions of the counterfactual conditional were not sufficiently well understood. The development of a formal semantics for counterfactuals by Robert Stalnaker [1968] and David Lewis [1973b] stands as a major recent achievement in philosophical logic. (shrink)

This paper investigates the meaning of the neo-Confucian concept of 'li'. From early on, it has the sense of a pattern designating how things are and ought to be. But it takes on the appearance of something transcendent to the world only at a certain point in history, when it becomes juxtaposed to 'qi'. Zhu Xi has been criticized for this 'li-qi' dichotomization and the transcendentalization of 'li'. The paper re-examines this putative dualism and transcendentalism, looking into both Zhu's discussions (...) and pre- and post-Zhu discussions of 'li', and concludes it to be an inter-connective threading immanent to the world. (shrink)

Nanotechnology, as with many technologies before it, places a strain on existing legislation and poses a challenge to all administrative agencies tasked with regulating technology-based products. It is easy to see how statutory schemes become outdated, as our ability to understand and affect the world progresses. In this article, we address the regulatory problems that nanotechnology posses for the Food and Drug Administration’s (FDA) classification structure for ‘‘drugs’’ and ‘‘devices.’’ The last major modification to these terms was in 1976, with (...) the enactment of the Medical Device Amendments. There are serious practical differences for a classification as a drug or device in terms of time to market and research. Drugs are classified, primarily, as acting by ‘‘chemical action.’’ We lay out some legal, philosophic, and scientific tools that serve to provide a useful, as well as legally and scientifically faithful, distinction between drugs and devices for the purpose of regulatory classification. These issues we raise are worth the consideration of anyone who is interested in the regulation of nano-products or other novel technologies. (shrink)