The Ontology for Biomedical Investigations (OBI) is an ontology that provides terms with precisely defined meanings to describe all aspects of how investigations in the biological and medical domains are conducted. OBI re-uses ontologies that provide a representation of biomedical knowledge from the Open Biological and Biomedical Ontologies (OBO) project and adds the ability to describe how this knowledge was derived. We here describe the state of OBI and several applications that are using it, such as adding semantic expressivity to (...) existing databases, building data entry forms, and enabling interoperability between knowledge resources. OBI covers all phases of the investigation process, such as planning, execution and reporting. It represents information and material entities that participate in these processes, as well as roles and functions. Prior to OBI, it was not possible to use a single internally consistent resource that could be applied to multiple types of experiments for these applications. OBI has made this possible by creating terms for entities involved in biological and medical investigations and by importing parts of other biomedical ontologies such as GO, Chemical Entities of Biological Interest (ChEBI) and Phenotype Attribute and Trait Ontology (PATO) without altering their meaning. OBI is being used in a wide range of projects covering genomics, multi-omics, immunology, and catalogs of services. OBI has also spawned other ontologies (Information Artifact Ontology) and methods for importing parts of ontologies (Minimum information to reference an external ontology term (MIREOT)). The OBI project is an open cross-disciplinary collaborative effort, encompassing multiple research communities from around the globe. To date, OBI has created 2366 classes and 40 relations along with textual and formal definitions. The OBI Consortium maintains a web resource providing details on the people, policies, and issues being addressed in association with OBI. (shrink)

Dan O’Brien gives an excellent analysis of testimonial knowledge transmission in his article ‘Communication Between Friends’ (2009) noting that the reliability of the speaker is a concern in both externalist and internalist theories of knowledge. O’Brien focuses on the belief states of Hearers (H) in cases where the reliability of the Speaker (S) is known via ‘intimate trust’, a special case pertaining to friendships with a track record of reliable or unreliable reports. This article considers the notion of ‘intimate trust’, (...) specifically in the context of online fan communities, in which the amount of time as a member of an online fan community and the extent of one’s posting history often results in something like ‘intimate trust’ between fans who are, for all other purposes, strangers. In the last two years, Twitter has provided a number of celebrities with a place to update fans and ‘tweet’ back and forth an innumerable number of times in any given day. This accentuates the intimacy to such a level that it becomes a ‘caricature of intimacy’ – the minute-to-minute updates accentuate the illusion that the fan ‘knows’ the celebrity, but the distance and mediation are still carefully maintained. This is an issue with both ethical and epistemological implications for fan-fan and fan-celebrity relationships online, considering ethics of care and ethics of justice, whether fans ‘owe’ celebrities a certain amount of distance and respect, and whether stars owe the fan something in return, either in the sense of reciprocal Kantian duties or Aristotelian moderation. (shrink)

Warren Zevon’s musical career, though brilliant throughout, is particularly notable for its ending: diagnosed with a terminal illness, Zevon refused a potentially debilitating medical treatment to put his remaining energy into recording another album. The resulting record –2003’s 'The Wind' – was in many ways the perfect farewell: songs of dirty, dark, uncompromising, country-tinged rock, blistering guitar solos, all mixed with intelligent, black-as-coal gallows humour. But it was also a moving farewell to his fans, a heartfelt, personal reflection on his (...) life and impending death: it begins with the words “sometimes I feel like my shadow’s casting me” and ends with “keep me in your heart for a while”. 'The Wind' ranks among Zevon’s very best and belongs in the same category as albums like David Bowie’s 'Blackstar' and Leonard Cohen’s 'You Want It Darker': works of great artists that knew the end was coming and made that knowledge musical. But though it had a particular force towards the end, death had always featured as a prominent theme in Zevon’s music. In fact, the albums that preceded his terminal diagnosis – especially 2000’s 'Life’ll Kill Ya' – have a marked preoccupation with death and dying, and many of his song’s characters (gunmen, gangsters, boxers, murderers of all stripes) either dealt death out, died, or both. -/- In this chapter, I argue that Zevon’s music and speech in his late public appearances personify an idea in Martin Heidegger’s philosophy called ‘authentic being-towards-death’. In his landmark text 'Being and Time', Heidegger undertakes a painstaking analysis of human existence. One of its conclusions is that to live a fully authentic life, we must reckon with our mortality, come to terms with it and allow this reckoning to have a transformative effect on how we live and how we think about our existence. This results, Heidegger argues, in a distinct way of being that he calls ‘being-towards-death’ and ‘anticipatory resoluteness’ in the face of death. Authentic being, which involves properly taking ownership of our lives and their meaning, cannot be adequately achieved without a serious confrontation with the fact that we will one day die. I claim that Warren Zevon’s music, with its continual engagement with death which culminates in 'The Wind', is one of the great musical manifestations of exactly this type of project. Heidegger’s writing is often notoriously abstract, but it pertains to the most fundamental issues about what it means to be human. Engaging with it alongside Zevon’s music provides a fruitful opportunity to make it concrete, better able to understand its most important aspects while providing an interesting conceptual toolkit to apply to the music of one of the great songwriters of death. (shrink)

Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual representations of power in both Heavy Metal and Fundamentalist Christian communities. Performances at metal shows, and performances of ‘religious theatre’, share an emphasis on violence and destruction. For example, groups like GWAR and Cannibal Corpse feature violent scenes in stage shows and album covers, scenes that depict gory results of unrestrained sexuality that are strikingly like Halloween ‘Hell House’ show presented by neo-Conservative, Fundamentalist Christian (...) churches in the southeastern United States’ ‘Bible Belt’. One group may claim to celebrate violence, the other sees violence as a tool to both encourage ‘moral’ behaviour, and to show that the Christian church is able to ‘speak the language’ of young people who are fans of metal, gore, and horror. Explicit violence, in each case, signifies power relationships that are in transformation. Historically, medieval morality plays and morality cycles had been used as a pedagogical tool. In the modern-day context of fundamentalist religious education, these Hell House performances seek to exclude outsiders and solidify teen membership in the Christian community. Hell House performances are marketed to the young church members, and are seen as a way to reinvigorate conservative Fundamentalist Christianity. Women and girls routinely take part in, and often organize Hell House events. In the context of heavy metal, violent performances do not seek to exclude, but provide an outlet for a variety of socially unacceptable or unpopular feelings. In each context there is an apparent, if not actual, empowering of women who are willing to play particular kinds of roles. The use of violence and gore has a value beyond merely shocking the audience, it is arguably a way that some women find their voice, both for fundamentalist Christians and fundamentalist gore metal fans. (shrink)

The COVID-19 crisis has forced a difficult trade-off between limiting the health impacts of the virus and maintaining economic activity. Welfare economics offers tools to conceptualize this trade-off so that policy-makers and the public can see clearly what is at stake. We review four such tools: the Value of Statistical Life (VSL); the Value of Statistical Life Years (VSLYs); Quality-Adjusted Life-Years (QALYs); and social welfare analysis, and argue that the latter are superior. We also discuss how to choose policies that (...) differentially affect people’s wellbeing. We argue in favor of evaluating policies using a Social Welfare Function (SWF), which evaluates the possible distributions of wellbeing across individuals that may result from a policy. Such a function, we argue, should regard increases in the wellbeing of the less well-off as especially valuable. We then use a model to illustrate how such a framework can help evaluate two broad policy types in response to the pandemic: eradication of the virus, and more lenient control of the spread. Our model reveals how such evaluations depend on many empirical facts but also on key value judgments about the relative importance of health and on the extent of special concern for the worse off. The purpose of this brief is not to make precise recommendations, as conditions vary widely across countries and over time, but to provide a methodology. (shrink)

A combined psychological-epistemological study of the blocks that stand in the way of the human recognition of the sentience and legal rights of non-human animals. Originally published in the Lewis and Clark law journal, Animal Law, and subsequently translated into German and into Portuguese.

This paper sought to state in a concise and comparatively informal, unsystematic, and more accessible form the more technical approach the author developed during a research fellowship in 1974-75 at the Max-Planck-Institut in Starnberg, Germany. ●●●●● The ideas presented in this paper are more fully developed in later publications by the author which are listed in the two-page addendum to this paper. ●●●●● UPDATED NOTE TO THE READER - December, 2021 ●●●●● Readers will find a more fully developed position than (...) was formulated in this 1976 paper in the author's book-length study, CRITIQUE OF IMPURE REASON: Horizons of Possibility and Meaning. ●●●●● The book is available in a printed edition, ISBN 978-0-578-88646-6, from online booksellers such as Barnes & Noble, Amazon, and through independent bookstores. The book is also available as a freely downloadable _corrected second edition_ eBook, DOI: 10.5281/zenodo.5458352, through PhilSci, PhilPapers, HAL, and other online archives. ●●●●● In addition to the above-mentioned book, readers may find "A Primer on Bartlett's CRITIQUE OF IMPURE REASON" (DOI: 10.5281/zenodo.5789848) to be useful as a guide to the nearly 900-page CRITIQUE. The primer is available as a free download through PhilPapers. ●●●●●. (shrink)

In this essay, I want to explore one of the most ironic episodes in the history of propaganda, the attempt by various federal agencies to moderate American WWII anti-Japanese propaganda films. My texts will be four films, two produced by the military, and two by Hollywood: December 7th (1943), directed by Gregg Toland and revised by John Ford; Air Force (1943), directed Howard Hawks; Know Your Enemy: Japan (1945), directed by Frank Capra; and Betrayal for the East (1945), directed by (...) William Berke. As all of these films are readily available on YouTube, I will be brief in my description of them. Instead, I will focus on how they served to intensify racial hatred of Japanese in general and Japanese-Americans in particular, and how the federal government tried to control that propaganda—but was limited by its own policies regarding Japanese-Americans. (shrink)

The term ‘propaganda’ is normally taken in the pejorative sense of deceitful messaging. Propaganda is considered dubious if it is produced by a government agency, especially by a ministry of war or propaganda. In this article, I apply the theory of propaganda I sketched in a prior piece in these pages, under which propaganda is simply messaging intended to persuade others to do something or to support something. Under this theory, propaganda is reasonable if but only if it is evidence-based, (...) truthful, broadly logical, not coercive, targeted at mentally competent adults, and transparent—meaning that the audience should be aware that the message is intended to persuade them to do or support something. I then examine three WWII-era government propaganda films, one—A Defeated People (1946)—produced by the British military, and two—The Negro Soldier (1944) and Teamwork (1947)—produced by the American military. I explain first why I chose these particular films. I then analyze these films in some detail and show that while they were not perfectly rational, they all effectively conveyed the persuasive message that the respective militaries wanted to convey. And they did this by meeting all of the criteria for propaganda to be rational. (shrink)

This is one of several papers by the author that seek to throw light on the psychology of philosophers. In this paper, certain of the defining properties of clinical narcissism are discussed in their application to the ideological position-taking character of many philosophers and the philosophies they propound. ●●●●● -/- 2022 UPDATE: The approach of this paper has been updated and developed further in Chapters 1 and 2 of the author’s 2021 book _Critique of Impure Reason: Horizons of Possibility and (...) Meaning_. The book is available both in a printed edition (under ISBN 978-0-578-88646-6 from Barnes & Noble, Amazon, and other booksellers) and an Open Access eBook edition (available under the book's title through Philpapers and other philosophy archives). (shrink)

In this article, I set forth a theory of propaganda explaining what it is, how it relates to marketing, and the nature and types of ideology. I discuss the criteria by which we can judge the rationality or deceitfulness of propaganda. I defend the view that while propaganda can be perfectly rational, it rarely is, and I explain why that is the case. I finish by explaining why the question of the rationality or deceitfulness of propaganda is different from the (...) question of the morality of propaganda. I give two quick examples of how an ethicist might argue that deceptive propaganda might be ethical to use, and perfectly rational propaganda might be immoral to use. I conclude with the notion that the question of the ethics of marketing and propaganda is complex, and should be handled in a separate paper. (shrink)

This essay is my review of Erwin Leiser’s excellent documentary film Germany Awake. This classic film first aired in Germany in 1968, and remains to this day one of the best surveys of major Nazi-era movies and exactly what messages they were meant to convey. The film underscores the emphasis the regime put on film as one of the premier mechanisms of propaganda, though Leiser’s film points out that most of the cinema produced by the Nazi regime was not pure (...) propaganda, but mainly entertainment. In the review, I put forward a list of criteria for evaluating the degree of the deceptiveness of propaganda, and why cinema is so apt to exploit those criteria. (shrink)

In this essay, I review two earlier anti-Semitic propaganda films of 1939, to wit, Robert and Bertram, and Linen from Ireland. I begin by rehearsing some of Abram de Swann’s analysis of genocide and then discuss in greater detail a classic sociological analysis written during WWII by Hans Speier. Speier distinguished three broad kinds of war of increasing ferocity: instrumental war, agonistic war, and absolute war. While the first two sorts of war are relatively constrained, in absolute war the in-group (...) regards the out-group as inherently evil, and consequently the goal of such a war is to exterminate the out-group, with no limitation on methods. I suggest in the piece that the focus of these films is precisely to get the audience to view Jews as three different things: different (not Germans as “Aryans” are supposed to be); disgusting (loathsome, somehow degenerate); and dangerous (a threat to Aryan Germans by their very nature). I cover both films, pointing to the scenes that are crafted to engender in the audience exactly these feelings. To help explain how the various scenes manipulate the audience to push the regime’s Anti-Semitic narrative, I use Robert Cialdini’s theory of the use of psychological mechanisms in marketing. (shrink)

In this essay, I look at more or less sympathetic portrayals of egoists in film. I start by explaining some basic concepts: psychological egoism; ethical egoism; default egoism; rational egoism; egotism; cynicism; narcissism; and psychopathy. I then review in-depth two excellent WWII films, Stalag 17 and The Bridge on the River Kwai. I note that the key protagonist in both pictures is the same type of character—both played by the same fine actor, William Holden. The main protagonist in both is (...) a soldier in a POW camp, who appears completely egoistic; however, in both cases, the movie shows that he is just a man acting for self-preservation, but within moral limits. The character in both cases is certainly not an egotist, nor a narcissist, much less a psychopath. (shrink)

This essay is my critical review of Al Gini and Alexei Marcoux’s fine text, The Ethics of Business. Unlike most business ethics texts, Gini/Marcoux recognize that most businesses are small, and that business is not inherently immoral and always in need of reform. And they put their focus on using ethical theory to find action-guiding principles to help guide business behavior. Moreover, they adopt the Schumpeterian view that business is an entrepreneurial activity—one that not merely executes transactions, but seeks them (...) out. I critically probe a number of issues with their book such as their reliance upon virtue ethics as their main ethical theory, and their view that trust plays an overwhelming role in business. (shrink)

In this article, I explore how efficacious film can be in countering propaganda in film. To set up the discussion, I first sketch out a simple theory of propaganda, under which propaganda can be ranked from completely rational to very irrational, on six different dimensions. These are the degrees to which the propaganda is: evidence-based; truthful; broadly logical; transparent; properly targeted; and transparent. I then review in detail the main propaganda film, Gasland. This film was a highly successful documentary that (...) attacked the production of natural gas by hydrofracturing, called in America “fracking.” Gasland succeeded in organizing domestic opposition to fracking, actually blocking it in the Delaware River Basin system. The film was also influential abroad, leading to fracking bans in France, Bulgaria, and elsewhere in Europe. Next, I review in detail two counter-propaganda films—that is, in this case, two pro-fracking documentaries: Truthland and FrackNation. Truthland is a short documentary that aims at rebutting many of Gasland’s major claims. It was funded by the fracking industry and had limited distribution but it succeeded in refuting much of the longer and better-funded anti-fracking film. A much more successful film in terms of both general distribution and efficacy of rebuttal was the much longer pro-fracking documentary FrackNation. It critiques all of Gasland’s major points, in vivid detail. Since it was crowdfunded, it couldn’t be dismissed on the grounds that it was biased because of being industry-backed. I conclude by explaining why the pro-fracking documentaries did not result in a major change in public opinion. (shrink)

In this essay, I review in great detail Ian Garden’s outstanding book, The Third Reich’s Celluloid War. Garden begins by discussing propaganda theory and then discusses not just Nazi feature films and documentaries, but television as well. (The Nazis had the earliest TV network). All in all, the regime produced over 1,300 feature films during its time in power. Garden also compares Nazi propaganda films to British and American ones.

In this essay, I explore a documentary about the curious case of Charlie and his Orchestra. While swing music was outlawed in Nazi Germany as “degenerate,” the Nazi regime created a radio program called “Charlie and his Orchestra” for foreign consumption. The propaganda lay in the changes to the original lyrics of the songs played, making them convey the anti-Semitic and other themes of the Nazi ideology. The review discusses just how good the musicians were, and how popular the program (...) was. (shrink)

This paper, "The Ecological Pathology of Man," is an expanded excerpt from the author's book, "The Pathology of Man: A Study of Human Evil." ¶¶¶¶¶¶¶¶ When taken as a serious and dispassionate object of study from the standpoint of the science of pathology, the human species is easily recognized as a global pathogen. Incontrovertible evidence on all sides tells us this, and yet we have steadfastly avoided an honest look in the mirror. We so often choose—willfully and with strong convictions (...) sustained by homocentric prejudice—to hide the facts from ourselves, and to proceed with untroubled ignorance to overlook the worldwide human and natural devastation for which our species is responsible. (shrink)

In this essay I take up the later major anti-Semitic propaganda pieces, all of them released in 1940. They were produced under Goebbels explicit orders to each of the three Nazi-controlled studios to produce an anti-Semitic film. The three films produced were: The Rothschilds Share at Waterloo; Jud Suss; and The Eternal Jew. These films were much more powerful propaganda pieces in intensifying anti-Semitic feelings—those feelings of difference, disgust, and danger. For each film, I point to the scenes that arouse (...) the feelings even more profoundly than did the earlier films. The Rothschilds’ Shares at Waterloo put forward the conspiracy theory (widespread to this day) that Jewish bankers form a conspiratorial cabal bent upon world domination. Jew Suss (which was presented as historically true) pushes the narrative of Jews using money to take power, and of their boundless lust for young Christian women (hence the danger of “racial pollution”). Of all the anti-Semitic propaganda films the regime produced, the top regime figures considered this to be the most powerful—about 40% of German adults of the time saw this film. It is banned in Germany to this day. Finally, The Eternal Jew—perhaps the most infamous of the group—is presented as a truthful documentary. While this sham documentary was a comparative box office flop, it was widely used as a training film. (shrink)

This essay is my review of Philip Booth’s ...and the Pursuit of Happiness: Wellbeing and the Role of Government. The book is an anthology of original articles by eminent researchers in modern happiness economics, such as: Booth himself; Paul Omerod; David Sacks, Betsey Stephenson, and Justin Wolfers; Christopher Snowden; J. R. Shackleton; Christian Bjornskov; Peter Boettke and Christopher Coyne; and Pedro Schwartz. I conclude by offering several criticisms of the work.

This is a review of the biopic of the great mathematician Ramanujan, 'The Man Who Knew Infinity'(2016).

A combined psychological-epistemological study of the human blocks that stand in the way of the recognition of non-human animal sentience and legal rights. This is a Portuguese translation of the author's paper, "Roots of Human Resistance to Animal Rights: Psychological and Conceptual Blcoks," originally published in the Lewis and Clark law review, Animal Righs, in 2002. The Portuguese version was presented in conjunction with the International Congress on Animal Rights, Salvador, Brazil, Oct. 8-11, 2008, and published in the Revista Brasileira (...) de Direito Animal. (shrink)

In this essay, I look at two films as possible exemplars of the Nietzschean view of egoism. Compulsion is based on the infamous 1924 Leopold and Loeb murder case. In the movie, two arrogant young men—one of whom admires Nietzsche and preaches the (apparently Nietzschean) view that the strong and superior don’t need to follow conventional morality—kill a boy to prove they can outsmart the unter-menschen police. For a different take on what Nietzsche may have had in mind as “the (...) Overman,” I also look at the film The Moon and Sixpence. Here the protagonist isn’t violent or aggressive, but a completely self-absorbed artist, who paints with genius but uses others without feeling any gratitude or friendship, let alone love. (shrink)

In this essay, I briefly review ten of the best bio flicks of artists. After laying out my criteria for assessing biographical films about artists, I review my ten choices. These films are: The Agony and the Ecstasy; Frida; Local Color; The Moon and Sixpence; Girl with the Pearl Earring; Pollock; Rembrandt; Moulin Rouge; Modigliani; and Lust for Life. For each film, I try to explain the ways in which the directors were able to show the artist’s creative processes and (...) personal challenges. (shrink)

In this essay, I use four war movies to explore conflicts of loyalty and how they are resolved, all to illustrate W.D. Ross’ multiple rule deontologism. The films are all fine WWII movies: The Enemy Below; Decision Before Dawn; John Rabe; and The Bridge on the River Kwai. In my analysis of each, I show how the protagonists face conflicts of their loyalty to themselves, their countrymen, their friends, and humanity in general, and resolve them in the face of changing (...) factual backgrounds. (shrink)

In this essay, I review a French-American gem of a movie, The Artist. This movie was an homage to the silent film era and is itself almost all silent. I discuss both the artistic and financial success of silent movies, and I praise this film for successfully interesting modern theater-goers despite its almost total lack of sound. The film won five Academy Awards, including Best Picture, Best Director, and—for its outstanding lead actor, Jean Dujardin—Best Actor. It is the only French-produced (...) movie to win Best Picture, and the only (almost entirely) silent movie to win Best Picture since the start of the Academy Awards in 1929. (shrink)

In this essay, I review an extraordinary bio flick, Temple Grandin. Temple Grandin is a professor of animal science, and to achieve her distinguished career she had to deal with her autism. The film explores what it is to suffer this disease, but it also explores her extraordinary work involving making slaughterhouses more humane.

This essay is my review of Bob Bowden’s excellent documentary The Cartel. It is a powerful indictment of public schools and public school teachers’ unions. In a crucial part of the film, we see minority parents at a charter school lottery. Charter schools, like voucher private schools, give parents school choice—although charter schools are public schools technically, but run fairly independently. They are so popular, and the school districts allow so few of them, that parents must apply by lottery for (...) the few slots. The looks of grief on the faces of the parents who lose the lottery—and hence must keep their children in failing public schools—is telling. It is ironic that the nation most admired by American progressives—Sweden—completely voucharized its entire K-12 school system thirty years ago. (shrink)

The graph tong同and its associated concepts, such as da-tong (Great tong大同) and xuan-tong (mystic or dark tong玄同), have played important roles in the development of Chinese philosophy. Yet tong has received scant attention from either western or eastern scholarships. This paper is a first attempt to remedy such regret. Unlike usual understandings of tong as sameness or unity, this paper presents a nuanced account from early China, that is, ‘difference to one,’ a definition from the Mozi墨子. This definition can be (...) supported from etymological, textual, and lexical evidence. ‘Difference to one’ should not be solely attributed to a Mohist understanding; it in fact represents a common understanding of tong across philosophical streams in early China. This nuanced account provides new insights into the concept of tong in early philosophical texts, and furthermore breaks solid grounds for further studies of tong and its associated concepts. (shrink)

The ‘Wu xing’ belongs to Guodian bamboo slips texts, which were buried around 300 BCE and excavated in 1993. Its relation with Mengzi is widely investigated. Yet how it is philosophically related to Xunzi receives little attention. In this article, I illustrate a neglected relation between ‘Wu xing’ and Xunzi, by elucidating how shan 善 (goodness) is first raised in ‘Wu xing’ and developed by Xunzi into a concrete idea. Both ‘Wu xing’ and Xunzi propose that shan exists in action, (...) which boils down to the harmonious unity of the mind and body, and to secure the ideal relation between the mind and body requires constant learning and practicing, particularly, of rituals. Learning and practicing not only lead one to realize shan, but eventually to become a consummate practitioner of rituals, to use Xunzi’s words, to become a sage. (shrink)

In Authority and Estrangement, Richard Moran provides a fascinating account of how we know what we believe that he calls the “transparency account.” This account relies on the transparency relation between the question of whether we believe that p and the question of whether p is true. That is, we can consider the former by considering the grounds for the latter. But Moran’s account has been criticized by David Finkelstein, who argues that it fails to explain how we know our (...) attitudes and emotions more generally. The aim of this paper is to show how Moran’s transparency account can be extended to meet this criticism by modifying it, using insights from Davidson’s view on attitudes and emotions. (shrink)

Xuantong 玄同 (tentatively translated as dark oneness) is a unique Daoist idea that represents an ideally mental and physical state as a result of cultivation. However, owing to limited context in the Laozi, there is no consensus on the interpretation of xuantong. Contemporary studies have also neglected xuantong’s evolution in early texts and assumed a homogeneous understanding, and hence, failed to provide a nuanced account. In this article, I investigate how xuantong evolves from the Guodian Laozi to the Huainanzi and (...) Wenzi. I argue that although xuantong may originate from the Laozi, it is in the Wenzi that a coherent theory of xuantong is accomplished. This theory advocates an orderly process of cultivation that covers internal mental states, external acts, and integration with the whole universe. The cultivation would eventually lead people to adopt an undifferentiated perspective on, and reach oneness with, all things in the universe. (shrink)

The Philosophical Forum, Volume 53, Issue 1, Page 47-61, Spring 2022.

This essay is my short, critical review of Donald Livingston’s anthology, Rethinking the American Union for the Twenty-First Century. The contributors of this anthology all argue for secession as a legal and proper tool for calling the Federal government down in size and power. I critically examine the arguments of the contributors.

This article investigates a central yet perplexing term yiming in the ‘Qiwulun’ chapter of the Zhuangzi. Yiming describes a crucial way to detach from epistemic distinctions and debates. This term is often explained as ‘using ming’ or contradictorily as ‘stopping ming’. Yet neither of the two explanations can provide a full understanding of how yiming is adopted. I take three steps to explain yiming. First, taking an etymological approach, I argue that ming can be formulated as ‘X shining on Y’. (...) Second, I use the formula of ‘X shining on Y’ to account for yiming and argue that this term refers specifically to ‘using tian to shine on everything’. Third, I unpack a cluster of tian-associated metaphors, which provides a deep understanding of yiming as an ideal way to mental tranquility. (shrink)

This essay is my review of economist Mark Skousen’s book, The Big Three in Economics. In it, he discusses the economic work of Adam Smith, Karl Marx, and John Maynard Keynes. He gives even-handed treatments of the major contributions of each, for example, Smith’s reputation refutation of mercantilist policies and Smith’s crucial insight into the role that division of labor plays in economic growth. My only complaint is that Skousen doesn’t adequately explain his choice of Marx as a great economist. (...) What enduring contributions did he make to the field? Why name him rather than (say) David Ricardo? (shrink)