In this essay, I read Woolf’s To the Lighthouse together with philosopher Cora Diamond’s writing on literature and moral life, writing marked by her inheritance from Wittgenstein. I first attend to Woolf’s commitment (one she shares with Wittgenstein) to grappling with what I take to be signature issues of modernism: question, quest, and a longing for vision or revised understanding as a way of confronting the difficulty of reality. I then probe Woolf’s engagement with these issues by reading her novel (...) in light of Diamond’s essay “The Difficulty of Philosophy and the Difficulty of Reality.” Diamond’s insights about literature’s capacity for ethical instruction, and her discussion in that essay of the experience of an ordinary sublime so painful or astonishing that it resists our understanding and categories of thought, illuminate a new philosophical context in which to understand more clearly and profoundly the stakes and aims of Woolf’s novel. Reading Woolf alongside Diamond also prompts us to recognize important ways in which matters that lie at the heart of To the Lighthouseintersect with the Wittgensteinian preoccupations that inform Diamond’s own thinking—concerns about the ethics of difficulty; skepticism about what other people think and feel; the search for communicative and existential clarity; the capacity of literature and fairy tale to convey a sense of beauty or of the “terrible” in the world; the status of expressions of our ethical experience as necessarily nonsensical; a longing for the sense of wholeness, transformative understanding, wonder, safety, and peace to stave off illusion or despair. One important subsidiary effect of looking at Woolf and Diamond together is that doing so also allows us to make significant oblique connections between Woolf’s thinking and Wittgenstein’s, connections that continue to bring into focus the philosophical sympathies that attest to the mutual relevance of their peculiar brands of modernism. (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

This paper is a companion piece to my earlier paper “Fallibilism and Concessive Knowledge Attributions”. There are two intuitive charges against fallibilism. One is that it countenances the truth (and presumably acceptability) of utterances of sentences such as “I know that Bush is a Republican, though it might be that he is not a Republican”. The second is that it countenances the truth (and presumably acceptability) of utterances of sentences such as “I know that Bush is a Republican, even though (...) I’m not certain that he is”, or “I know that Bush it a Republican, even though it isn’t certain that he is.” In “Fallibilism and Concessive Knowledge Attributions”, I argue that fallibilism in epistemology does not countenance the truth of utterances of sentences such as “I know that Bush is a Republican, though it might be that he is not a Republican”. In this paper, I argue that there are independent reasons for thinking that utterances of sentences such as “I know that Bush is a Republican, though I’m not certain that he is” and “I know that Bush is a Republican, though it’s not certain that he is” are unassertible. More specifically, I argue that these are simply instances of Moore’s Paradox, such as “Dogs bark, but I don’t know that they do.” The right account of Moore’s Paradox does not involve the falsehood of the semantic content of the relevant utterances, but rather their pragmatic unacceptability. So the anti-fallibilist intuitions turn out to have pragmatic, rather than semantic import, and therefore do not tell against the truth of fallibilism. Fallibilism in epistemology is often thought to be theoretically desirable, but intuitively problematic. My purpose with these two papers is to show that fallibilism is not intuitively problematic. (shrink)

Images abound of women throughout the ages engaging in various activities. But why are there so few representations of childbirth in visual art? Feminist artist Judy Chicago once suggested that depictions of women giving birth do not commonly occur in Western culture but can be found in other contexts such as pre-Columbian art or societies previously considered "primitive." Chicago's own exploration of the theme resulted in the creation of The Birth Project (1980-85): an unprecedented series of eighty handcrafted works of (...) art created in a variety of needlework techniques by more than 130 artisans that celebrate the experience of birth and a woman's transformation into motherhood. But why is The Birth Project an aberration from today's norm? What are the reasons that childbirth remains a taboo subject in our visual culture? Why is the birthing experience--so pervasive for women--so infrequently celebrated, even by female artists? (shrink)

Fictionalist approaches to ontology have been an accepted part of philosophical methodology for some time now. On a fictionalist view, engaging in discourse that involves apparent reference to a realm of problematic entities is best viewed as engaging in a pretense. Although in reality, the problematic entities do not exist, according to the pretense we engage in when using the discourse, they do exist. In the vocabulary of Burgess and Rosen (1997, p. 6), a nominalist construal of a given discourse (...) is revolutionary just in case it involves a “reconstruction or revision” of the original discourse. Revolutionary approaches are therefore prescriptive. In contrast, a nominalist construal of a given discourse is hermeneutic just in case it is a nominalist construal of a discourse that is put forth as a hypothesis about how the discourse is in fact used; that is, hermeneutic approaches are descriptive. I will adopt Burgess and Rosen’s terminology to describe the two different spirits in which a fictionalist hypothesis in ontology might be advanced. Revolutionary fictionalism would involve admitting that while the problematic discourse does in fact involve literal reference to nonexistent entities, we ought to use the discourse in such a way that the reference is simply within the pretense. The hermeneutic fictionalist, in contrast, reads fictionalism into our actual use of the problematic discourse. According to her, normal use of the problematic discourse involves a pretense. According to the pretense, and only according to the pretense, there exist the objects to which the discourse would commit its users, were no pretense involved. My purpose in this paper is to argue that hermeneutic fictionalism is not a viable strategy in ontology. My argument proceeds in two steps. First, I discuss in detail several problematic consequences of any interesting application of hermeneutic fictionalism. Of course, if there is good evidence that hermeneutic fictionalism is correct in some cases, then some of these drastic consequences would have to be accepted.. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

ABSTRACT:Many companies engage in dialogue with nongovernmental organizations about societal issues. The question is what a regulative ideal for such dialogues should be. In the literature on corporate social responsibility, the Habermasian notion of communicative action is often presented as a regulative ideal for stakeholder dialogue, implying that actors should aim at consensus and set strategic considerations aside. In this article, we argue that in many cases, communicative action is not a suitable regulative ideal for dialogue between companies and NGOs. (...) We contend that there is often an adversarial element in the relation between companies and NGOs, and that an orientation towards consensus can be in tension with this adversarial relation. We develop an alternative approach to stakeholder dialogue called ‘agonistic deliberation.’ In this approach, conflict and strategic considerations play a legitimate and, up to a certain point, desirable role. (shrink)

Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed (...) FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art. (shrink)

One of the main contentions of the framework for Responsible Innovation (RI) is that social and ethical aspects have to be addressed by deliberative engagement with stakeholders and the wider public throughout the innovation process. The aim of this article is to reflect on the question to what extent is deliberative engagement suitable for conducting RI in business. We discuss several tensions that arise when this framework is applied in the business context. Further, we analyse the place of deliberative engagement (...) in several theories of business ethics. We conclude that there remains a tension between the ideal of RI and the way in which the competitive market operates. Hence, RI scholars should reflect more critically on changes that are required in the market in order to make RI possible, modify the ideal of deliberative engagement for RI in business, or attempt to strike a balance between these two responses. (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the (...) body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

Robert Stalnaker argues that his causal-pragmatic account of the problem of intentionality commits him to a coarse-grained conception of the contents of mental states, where propositions are represented as sets of possible worlds. Stalnaker also accepts the "direct reference" theory of names, according to which co-referring names have the same content. Stalnaker's view of content is thus threatened by Frege's Puzzle. Stalnaker's classic paper "Assertion" is intended to provide a response to this threat. In this paper, I evaluate Stalnaker's claim (...) that the causal-pragmatic account of intentionality commits one to a coarse-grained conception of the contents of mental states, and argue that the apparatus laid out in "Assertion" is not sufficiently comprehensive to account for all versions of Frege's Puzzle. (shrink)

The first part of my hypothesis, then, is simple enough, and would be accepted in principle by most students of Plato: the dramatic structure of the dialogues is an essential part of their philosophical meaning. With respect to the poetic and mathematical aspects of philosophy, we may distinguish three general kinds of dialogue. For example, consider the Sophist and Statesman, where Socrates is virtually silent: the principal interlocutors are mathematicians and an Eleatic Stranger, a student of Parmenides, although one who (...) is not always loyal to his master's teaching of what might be called monadic homogeneity. In these dialogues, the mathematical character of philosophy is not merely emphasized but exaggerated, and any attempt to interpret them must take this fact into account. Otherwise, we shall not be able to understand why the Stranger seems to classify the general's art in the same species of the genus hunting as the louse catcher. The significance of this step, which does not stem from humanitarian considerations, but rather illustrates how the human becomes invisible from the mathematical viewpoint, contributes its share to the obscurity of these two dialogues. Second, there are dialogues like the Phaedrus and Symposium, in which the style, the interlocutors, and even the subject-matter seem to be largely poetic and rhetorical. Here, the overwhelming impression is of enthusiasm, divine madness, and intoxication in speech and deed. Finally, there are dialogues like the Philebus and Republic, in which it is not so easy to say whether poetry or mathematics predominates, if indeed either may be said to do so. (shrink)

People maintain a positive identity in at least two ways: They evaluate themselves more favorably than other people, and they judge themselves to be better now than they were in the past. Both strategies rely on autobiographical memories. The authors investigate the role of autobiographical memories of lying and emotional harm in maintaining a positive identity. For memories of lying to or emotionally harming others, participants judge their own actions as less morally wrong and less negative than those in which (...) other people lied to or emotionally harmed them. Furthermore, people judge those actions that happened further in the past to be more morally wrong than those that happened more recently. Finally, for periods of the past when they believed that they were very different people than they are now, participants judge their actions to be more morally wrong and more negative than those actions from periods of their pasts when they believed that they were very similar to who they are now. The authors discuss these findings in relation to theories about the function of autobiographical memory and moral cognition in constructing and perceiving the self over time. (shrink)

Looking at the nature of intentionality as a product of perception.

If, relative to a context, what a sentence says is necessarily true, then what it says must be so. If, relative to a context, what a sentence says is possible, then what it says could be true. Following natural philosophical usage, it would thus seem clear that in assessing an occurrence of a sentence for possibility or necessity, one is assessing what is said by that occurrence. In this paper, I argue that natural philosophical usage misleads here. In assessing an (...) occurrence of a sentence for possibility or necessity, one is not assessing the modal status of the proposition expressed by that occurrence of the sentence. (shrink)

Beauvoir maintains a unified "compromise theory" of aesthetics throughout her ethics, feminism, and fiction that portrays the conundrum that every artist faces -- an impasse that sets action against inaction, politics against culture. Beauvoir's theory of art in The Mandarins, aided by an analysis of women's oppression in The Second Sex, advocates art that keeps past events alive in the present and in so doing, changes even the tragic into the life affirming. Beauvoir lauds artists who, even in the face (...) of self-doubt, continue to engage in artistic endeavors in order to maintain an ethical relationship to the rest of humanity. (shrink)

In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...) replicating a cultural bias that links an artist to particular mental processes that are unnecessarily exclusive. An experiential account of creativity like the one recently advanced by Bence Nanay not only disadvantages those artists whose lived experiences reflect fewer social opportunities than their counterparts, but also invokes a concept of luck that undermines the role of originality within an artwork's overall aesthetic value. (shrink)

The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some guidance as (...) to why a symposium on beauty merits attention in 1999. (shrink)

People seem more divided than ever before over social and political issues, entrenched in their existing beliefs and unwilling to change them. Empirical research on mechanisms driving this resistance to belief change has focused on a limited set of well-known, charged, contentious issues and has not accounted for deliberation over reasons and arguments in belief formation prior to experimental sessions. With a large, heterogeneous sample (N = 3,001), we attempt to overcome these existing problems, and we investigate the causes and (...) consequences of resistance to belief change for five diverse and less contentious socio-political issues. After participants chose initially to support or oppose a given socio-political position, they were provided with reasons favoring their chosen position (affirming reasons), reasons favoring the other, unchosen position (conflicting reasons), or all reasons for both positions (reasons for both sides). Our results indicate that participants are more likely to stick with their initial decisions than to change them no matter which reasons are considered, and that this resistance to belief change is likely due to a motivated, biased evaluation of the reasons to support their initial beliefs (prior-belief bias). More specifically, they rated affirming reasons more favorably than conflicting reasons—even after accounting for reported prior knowledge about the issue, the novelty of the reasons presented, and the reported strategy used to make the initial decision. In many cases, participants who did not change their positions tended to become more confident in the superiority of their positions after considering many reasons for both sides. (shrink)

In "Convention and Dickie's Institutional Theory" (British Journal of Aesthetics 1980), Catherine Lord maintains the following thesis: (L) If a work of art is defined as institutional and conventional, then the definition precludes the freedom and creativity associated with art. Lord also maintains that the antecedent of this conditional is false. In this note, I argue that (i) certain confusions and assumptions prevent Lord from showing the antecedent is false, and (ii) even if the antecedent is assumed to be true, (...) there are counterexamples to the entire conditional. With regard to (ii), I will suggest that conventionality is necessary for creativity. [This was my first published paper, written as a graduate student, taken from my University of Illinois at Chicago dissertation written with Professor George Dickie on the topic of conventions, utilitizing David Lewis' definition of "convention."]. (shrink)

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.”. (shrink)

Judging by our folk appraisals, then, knowledge and action are intimately related. The theories of rational action with which we are familiar leave this unexplained. Moreover, discussions of knowledge are frequently silent about this connection. This is a shame, since if there is such a connection it would seem to constitute one of the most fundamental roles for knowledge. Our purpose in this paper is to rectify this lacuna, by exploring ways in which knowing something is related to rationally acting (...) upon it, defending one particular proposal against anticipated objections. (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. Annotated (...) bibliography by Joshua Shaw. (shrink)

This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (30 the (...) use of the aesthetic attitude to improperly justify controversial works of art. It will also point out that Beauvoir's Ethics is distinct in the history of aesthetics for its atypical (proto-feminist) stand against the popular notion of the aesthetic attitude. Her promotion of political (feminist) art presages the feminist art movement of the 1970s. Ahead of her time, Beauvoir recognized the vital interplay between art and ethics. (shrink)

According to what I call ‘the asymmetry thesis’, persons, though they are the direct bearers of the properties expressed by mental predicates, are not the direct bearers of properties such as those expressed by ‘weighs 135 pounds’ or ‘has crossed legs’. A number of different views about persons entail the asymmetry thesis. I first argue that the asymmetry thesis entails an error theory about our discourse involving person‐referring terms. I then argue that it is further threatened by consideration of the (...) grounds we have for self‐ascribing mental and physical predicates. (shrink)

Barth consistently comments on Kant's importance for his early thought in his autobiographical sketches, letters, and even more explicitly in his 1930 lectures on Kant in his Protestant Theology in the Nineteenth Century. Interestingly, however, little attention has been paid to these latter lectures in the secondary literature. In part, this oversight is due to the manner in which Barth's theology has been thought to overcome Kant's influence much earlier on in his intellectual development. Hence, although commentators such as Merold (...) Westphal, Simon Fisher and Bruce McCormack have developed keen interest in Kant's influence upon Barth's early work, even engaging Barth's Neo-Kantian context in great detail, my contention is that Barth's later interpretation of Kant is crucial and gives further insight into Barth's legacy for contemporary thought today. After Kant, Barth did not abandonment or disregard the metaphysical question of being, but rather, faced it all the more rigorously. (shrink)

In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.

This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

Urban centers are being transformed into consumer tourist playgrounds made possible by dense networks of surveillance. The safety and entertainment however, come at an unseen price. One of the historical roots of surveillance can be connected to the modern information base of tracking individuals for economic and political reasons. Though its antecedents can be traced via Foucault's account of panoptic discipline which walled in society's outcasts for rehabilitation, the following essay explores the shift to the urban panopticism of today where (...) society's outcasts are subtly filtered out of "public" view. Juxtaposing a sociological account of the concentration camp with urban Disneyization fosters a greater understanding of how surveillance creates certain categories of citizenship. In particular, how urban surveillance intensifies Walter Benjamin's description of the flâneur who often experiences the brunt of the new urban panopticon's filtering power. (shrink)

The film A Serious Man cinematically deconstructs the life of a mid-twentieth century, mid-western American physics professor named Larry Gopnik. As it happens, Larry is up for tenure with a wife who is about to leave him, an unemployed brother who sleeps on his couch, and two self-obsessed teenage children. The film presents a Job-like theodicy in which the mysteries of quantum physics are haunted both by questions of good and evil as well as the spectre of an un-named God, (...) reverently referred to as Hashem. The following paper examines the broader set of philosophical, theological and ethical concerns which arise from the film’s themes, using it to illustrate those concerns. Just as Newtonian physics underwrote Kant’s evocation of the image of starry skies above and moral law within, quantum physics underwrites a new set of ethical anxieties, which the film narrates as a key facet of contemporary western culture’s postmodern re-enchantment. Although some, such as Slavoj Zizek, see this as a positively charged opportunity to rethink metaphysics and ethics, the film leaves the audience with more sinister conclusions. (shrink)

Having positive moral traits is central to one’s sense of self, and people generally are motivated to maintain a positive view of the self in the present. But it remains unclear how people foster a positive, morally good view of the self in the present. We suggest that recollecting and reflecting on moral and immoral actions from the personal past jointly help to construct a morally good view of the current self in complementary ways. More specifically, across four studies we (...) investigated the extent to which people believe they have changed over time after recollecting their own moral or immoral behaviors from the personal past. Our results indicate that recollecting past immoral actions is associated with stronger impressions of dissimilarity and change in the sense of self over time than recollecting past moral actions. These effects held for diverse domains of morality (i.e., honesty/dishonesty, helping/harming, fairness/unfairness, and loyalty/disloyalty), and they remained even after accounting for objective, calendar time. Further supporting a motivational explanation, these effects held when people recollected their own past actions but not when they recollected the actions of other people. (shrink)

Coordination is a key problem for addressing goal–action gaps in many human endeavors. We define interpersonal coordination as a type of communicative action characterized by low interpersonal belief and goal conflict. Such situations are particularly well described as having collectively “intelligent”, “common good” solutions, viz., ones that almost everyone would agree constitute social improvements. Coordination is useful across the spectrum of interpersonal communication—from isolated individuals to organizational teams. Much attention has been paid to coordination in teams and organizations. In this (...) paper we focus on the looser interpersonal structures we call active support networks, and on technology that meets their needs. We describe two needfinding investigations focused on social support, which examined four application areas for improving coordination in ASNs: academic coaching, vocational training, early learning intervention, and volunteer coordination; and existing technology relevant to ASNs. We find a thus-far unmet need for personal task management software that allows smooth integration with an individual’s active support network. Based on identified needs, we then describe an open architecture for coordination that has been developed into working software. The design includes a set of capabilities we call “social prompting”, as well as templates for accomplishing multi-task goals, and an engine that controls coordination in the network. The resulting tool is currently available and in continuing development. We explain its use in ASNs with an example. Follow-up studies are underway in which the technology is being applied in existing support networks. (shrink)

This article focuses on Barth's explication of Anselm's Proslogion 2-4 in his book on Anselm and attempts to show how Anselm helped clarify for Barth the ontological nature of his own early theology, in particular what he meant by the “is” in his affirmation “God is God.” My contention is that Barth's continual pointing to Anselm's Fides Quaerens Intellectum as a vital key to his own theology should not be overlooked. In fact, I argue that only by returning Barth to (...) Anselm in this way is it possible to understand more thoroughly Barth's relevance to contemporary onto-theological debates. (shrink)

Religion’s persistent and new visibility in political life has prompted a significant global debate. One of its key features concerns the nature and impact of secularization. This book intervenes in two ways. Firstly, it provides summative accounts of the history, culture and legal interactions that have informed Australia’s unique example. Secondly, it critically analyzes secular political theory concerning the public sphere, deliberative politics and democratic practices. The compendium aims to propel the debate in new directions and promote urgently needed public (...) understanding. My own contribution focused on hermeneutics in deliberative democracies. (shrink)

Although the question of religion did not feature prominently in Jürgen Habermas’s early political theory, his more recent work has continuously addressed the topic. This later interest in religion is grounded in what one commentator in a volume on The Power of Religion in the Public Sphere, cited as the urgent need to integrate religious voices in the workings of public reason in order to avoid social disharmony and to thwart potential violence. However, the following paper argues that the hermeneutic (...) procedures Habermas develops for the public sphere cannot bear the weight that his later understanding of religion demands of them. Such an insight validates Paul Ricoeur’s earlier argument that Habermas’s “depth hermeneutics,” were themselves utopic in nature. It is from this vantage point that a return to Ricoeur's thought is justified, through which a more productive understanding of the public potential of religious discourse can be understood. (shrink)

The history, critique and philosophy of the medical profession. What is real?

This article referencing preset research into the nature of consciousness, looking at engrams, NCC and phi. The author assumes a philosophical stance in the area of neuroscience.

Corporate activities conducted under the banner of creating shared value (CSV) have gained popularity over the last decade, and some MNCs have espoused that CSV has entered the heart of their practices. There has, however, been criticism about the lack of a standard definition of CSV. The purpose of the current study was to develop a working definition of CSV by identifying distinctions between CSV and various conceptions of corporate social responsibility (CSR). We conducted 26 semi-structured interviews with managers and (...) stakeholder representatives of five multinational corporations (MNCs) and three small and medium enterprises (SMEs), all headquartered or rooted in Asia. These firms had received public recognition for their CSV engagement. We compared and contrasted interviewees’ conceptions and descriptions of CSV and traditional CSR (philanthropy) and mapped these against Carroll’s four-layer model of responsible corporate management. Interviewees tended to frame CSV as a sustainable business model that generates social and economic value simultaneously. Traditional CSR was characterized as “giving back” some of the surplus from economic returns. In addition, interviewees described examples of strategic CSR, which involved pump-priming interventions for empowering and enabling stakeholders of the CSV practices of the focal firm to participate in the associated wealth and well-being co-creation. Keywords: Corporate social responsibility, creating shared value, qualitative, Asia. (shrink)

Every idealist believes himself to have rational grounds for the faith that somewhere, and in some world, and at some time, the ideal will triumph, so that a survey, a divine synopsis of all time, somehow reveals the lesson of all sorrow, the meaning of all tragedy, the triumph of the spirit. But it is not ours to say, in the world in which we at present have to live from one day to another, and to follow the fortunes of (...) man from one newspaper to another,--when and how the true revelation of the world's meaning is faced and[ found. The Basic Writings of Josiah Royce, Vol. II, p. 1146.]. (shrink)

Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist aesthetics" particularly his (...) focus on defiant artworks by female artists who sought to reclaim agency and expression of the female body. He revived interest in the neglected topic of beauty while simultaneously advancing radical political goals within the artworld. His call to arms urged art viewers to experience the new--what he often called "art on the edge and over"--wherein, "The experience of art becomes a moral adventure rather than merely an aesthetic interlude" (in Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s, 1996). (shrink)

Until recently, discussion of virtues in the philosophy of mathematics has been fleeting and fragmentary at best. But in the last few years this has begun to change. As virtue theory has grown ever more influential, not just in ethics where virtues may seem most at home, but particularly in epistemology and the philosophy of science, some philosophers have sought to push virtues out into unexpected areas, including mathematics and its philosophy. But there are some mathematicians already there, ready to (...) meet them, who have explicitly invoked virtues in discussing what is necessary for a mathematician to succeed. In both ethics and epistemology, virtue theory tends to emphasize character virtues, the acquired excellences of people. But people are not the only sort of thing whose excellences may be identified as virtues. Theoretical virtues have attracted attention in the philosophy of science as components of an account of theory choice. Within the philosophy of mathematics, and mathematics itself, attention to virtues has emerged from a variety of disparate sources. Theoretical virtues have been put forward both to analyse the practice of proof and to justify axioms; intellectual virtues have found multiple applications in the epistemology of mathematics; and ethical virtues have been offered as a basis for understanding the social utility of mathematical practice. Indeed, some authors have advocated virtue epistemology as the correct epistemology for mathematics (and perhaps even as the basis for progress in the metaphysics of mathematics). This topical collection brings together several of the researchers who have begun to study mathematical practices from a virtue perspective with the intention of consolidating and encouraging this trend. (shrink)

This chapter provides a high-level introduction to the topic of propaganda. We survey a number of the most influential accounts of propaganda, from the earliest institutional studies in the 1920s to contemporary academic work. We propose that these accounts, as well as the various examples of propaganda which we discuss, all converge around a key feature: persuasion which bypasses audiences’ rational faculties. In practice, propaganda can take different forms, serve various interests, and produce a variety of effects. Propaganda can aim (...) to affect not only audiences’ beliefs and attitudes, but also their emotions and moods, and in turn how audiences subsequently reason or act. While propaganda is often thought of as false or misinformation, it can instead involve framing effects (“The war on drugs”), covert messaging (“There are Muslims among us”), emotionally charged slogans (“Make America Great Again”), or myths (“The American dream”). These forms of propaganda mislead audiences, not by introducing false information, but by making some beliefs and values, rather than others, salient. In fact, propaganda can even employ straightforwardly true claims (again, as in “There are Muslims among us”) and seemingly objective bureaucratic reports (“Crime has risen 4.2%”). To understand how these and other mechanisms enable propaganda to persuade by arational means, further study is needed. To that end, throughout the chapter we identify a number of places where the study of meaning and communication can help elucidate propaganda, as well as the places where propaganda issues challenges for the study of meaning. (shrink)

c;inical medicine and language: Peircean and Austin's approach.