Let me first explain what I am not attacking in this paper. I am not attacking, for instance, the right of free speech or any of the other specific rights listed in the U.S. Constitution's Bill of Rights or the United Nations' Charter. I am, rather, attacking any specific right's being called a ‘human right’. I mean to show that any such designation is not only fraudulent but, in case anyone might want to say that there can be noble (...) lies, grossly wicked, amounting indeed to genocide. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Authorship of the Abstract Revisited John 0. Nelson More than a dozen years ago, in the pages of The Philosophical Quarterly,1 this writer contested Sraffa and Keynes' claim, advanced in the introduction to their edition ofthe Abstract? that it was Hume and not Adam Smith (as traditionally supposed) who was the author of that work. The traditional view, which might be called the Adam Smith authorship-theory, was (...) largely inspired by and seemed nailed shut by Hume's reference to a "Mr Smith" in a letter to Francis Hutcheson, datedMarch 4, 1740.3There appeared tobe goodreasonsforidentifying this "Mr Smith" with Adam Smith and then the latter with the undivulged author of the Abstract. It was known, for instance, that previous to March 4, 1740, Adam Smith had been a student of Hutcheson's and that Hutcheson was in the habit of setting his students the task of writing abstracts of newly published philosophical works.4 Since Hutcheson had originallylooked with favor on both the Treatise and its author,5 it had to seem more than likely that he had set his students the task ofwriting an abstract ofthe newly published Treatise ofHume. It was known, too, that Adam Smith was in possession of a copy ofthe Treatise soon after the date of H.6 Who, then, might be the "Mr Smith" adverted to in H's "My Bookseller has sent to Mr Smith a Copy of my Book, which I hope he has receive, as well as your Letter," except that same student of Hutcheson's, Adam Smith? What other Smith might have been known to Hutcheson, whom Hume could have wanted to refer to? No other Smith appeared to fit the bill. But why should Hume have wanted to refer in his correspondence with Hutcheson to an obscure, sixteen-year-old student ofHutcheson's, besides going to the trouble of having his bookseller send him a copy of the Treatise, unless that student had in some way made himselfnot only known to Hume but so highly regarded that Hume would want to favor him, presumably at his own expense, with a copy ofthe Treatise? The only tenable answer had to seem to be that this same student had composed such a perceptive and laudatory précis of the Treatise for Hutcheson that the latter had shown it to Hume and Hume, in the honest attempt to excite interest and sales of that languishing work, had seen to its publication as the Abstractl These are the reasonings Volume XVII Number 1 83 JOHN O. NELSON and considerations that inspired and seemed to confirm the Adam Smith authorship-theory.7 As can be perceived, these reasonings and considerations all revolve around the reference to a "Mr Smith"in H andthe identification of that Smith with Adam Smith. When, therefore, Sraffa and Keynes in the introduction to their edition oftheAbstract pointed out that there existed another Smith who might arguably be the Mr Smith referred toin H, namely, the DubUn publisher oftwo ofHutcheson's works, John Smith "at the Philosopher's Head on the Blind Quay," its major prop being seemingly knocked out from under it, the Adam Smith authorship-theory crashed—at least in the eyes of the general world—to the ground. And in thelatter's place, various ofits supporting reasons being given a lease on life, such as Hume's well-known endeavors and desires to excite interest in this first work of his, the Hume authorship-theory, so to speak, seated itself. In my previous venture into this subject, "Has the Authorship of An Abstract ofa Treatise ofHuman Nature Really Been Decided?"8 I tried, I believe with some success, to show that Sraffa and Keynes' arguments were not so unanswerable as they were generally taken to be and that, in fact, they presented various difficulties which the traditional theory avoided. But what then occasions this new excursion into these troubled waters? What more is to be said that I did not say in "Decided"? In "Decided" I presented various arguments and considerations that showed that it was unlikely either that Hume was the author of theAbstract or that the Mr Smith referred to in H... (shrink)

In this highly original and accessible book, one of our leading philosophers of religion seeks to answer this question by analyzing the several states of mystic union as they are described and explained in the classical primary literature ...

Realism concerning a given domain of things is the view that the things in that domain exist, and are as they are, quite independently of anyone.

Abstract: “Paley before Hume: How Not to Teach the Design Argument” Most philosophy of religion classes discuss the classic design argument for the existence of God, and many of these treat Paley’s Natural Theology (1802) before Hume’s Dialogues Concerning Natural Religion (1779). Following the syllabus of several leading anthologies, I did this for many years, but I now think that is a mistake, because it creates the impression that Hume was responding to Paley. Not only is it obvious on chronological (...) grounds that Hume could not have been responding to Paley; it is just as obvious on textual grounds that the reverse was true: Paley was in fact responding to Hume, and, e.g., carefully crafted a non-analogical version of the argument so as to avoid Hume’s famous criticisms of analogical arguments. (shrink)

We perceive things in the external world as spatially located both with respect to each other and to ourselves, such that they are in principle accessible from where we seem to be. I hear the door bang behind me; I feel the pen on the desk over to my right; and I see you walking beneath the line of pictures, from left to right in front of me. By displaying these spatial relations between its objects and us, the perceivers, perception (...) places us in the perceived world: our world and the world we perceive are one. Clearly this is not achieved by our continually perceiving ourselves along with the things around us, and thus recovering our position with respect to them. Indeed I shall argue that there are serious difficulties with the suggestion that this might be the basic mechanism for perceptual self- location. Furthermore, I shall argue that our existence as an element of the objective order cannot be inferred from the raw given in sense perception. Hence it cannot even be on the right lines as an answer to the question 'What is it for perception to represent its objects as environmental to the subject?', that it should present these objects, along with the perceiving subject himself, or along with something from which his existence in the perceived world could be deduced, in the very same frame so to speak. Nevertheless it yields him an awareness of himself as there in the wings of that scene, genuinely located with respect to the action, yet somehow not normally quite getting onto the stage. And I shall argue here, that perceptual contents succeed in being self-locating in this way in.. (shrink)

I argue that the Formula of Humanity, the principle that we should always treat the humanity of a person as an end in itself and never as a mere means, is a principle of pure practical reason. Insofar as that principle is also the fundamental grounds of morality, it follows, then, that all autonomous rational agents are committed to morality.

The American Journal of Bioethics, Volume 11, Issue 8, Page W1-W3, August 2011.

While it is philosophically contested whether nonlinguistic animals can have conceptual capabilities, it is also philosophically contested whether one can even empirically test for such capabilities. I draw from Sellars’ work on psychological nominalism to develop an empirically tractable means of distinguishing between tasks that require conceptual capabilities and those that do not. Tasks that require conceptual capabilities are those that require awareness of abstract relations, whereas tasks that can be solved merely through Sellarsian picturing do not. I argue that (...) relational matching-to-sample tasks cannot be solved through picturing and therefore require awareness of the abstract relations of same and different. Crows and amazons have both been able to succeed at relational matching-to-sample tasks; therefore, there are at least some nonlinguistic animals that have conceptual capabilities. Finally, I consider the objection that one cannot attribute conceptual capabilities without also attributing knowledge, and Sellarsian conditions for knowledge are beyond the capabilities of any nonlinguistic animal. In response, I argue that Sellarsian conditions for knowledge only require an implicit grasp of the is/looks distinction and empirical work with chimpanzees on their understanding of the appearance/reality distinction demonstrates that they can meet this standard. Therefore, language is not necessary for meeting Sellarsian conditions for knowledge. (shrink)

Wherever a government or state is concerned with the welfare of its citizens, there will probably also exist policies which compel the individual citizen to undertake or abstain from activities which affect that citizen alone. The set of theories behind such policies is collectively known as ‘paternalism’. It is not hard to understand why this term has developed strong pejorative overtones. Policies of this type appear to offend a fundamental tenet of liberal societies: namely, that the individual is best placed (...) to know what is in his or her interests. Paternalistic policies imply, and are concerned with correcting, failures of precisely this kind of judgement. And yet, at the same time, there is a popular consensus that compelling people to wear a seat belt when driving a car is a reasonable restriction of personal liberty. Paternalism may be difficult to accept in principle, but it is equally difficult to avoid in practice. Not surprisingly, the literature reveals a long heritage of debate in a wide range of academic disciplines. This debate reveals a failure to make progress in two areas in particular. First, analyses of paternalism often confuse policies which are actually concerned with correcting failures of market exchange — in particular, those concerned with insufficient or imperfect information — with those which are genuinely paternalistic. One objective of this paper will be to clarify the difference between these two kinds of policy. (shrink)

An exploration of the political dimensions of forgiveness and repentance from Jacques Derrida. Perjury and Pardon is a two-year seminar series given by Jacques Derrida at the École des hautes études en sciences sociales in Paris during the late 1990s. In these sessions, Derrida focuses on the philosophical, ethical, juridical, and political stakes of the concept of responsibility. His primary goal is to develop what he calls a “problematic of lying” by studying diverse forms of betrayal: infidelity, denial, false testimony, (...) perjury, unkept promises, desecration, sacrilege, and blasphemy. This volume covers the seminar’s second year when Derrida explores the political dimensions of forgiveness and repentance. Over eight sessions, he discusses Hegel, Augustine, Levinas, Arendt, and Benjamin as well as Bill Clinton’s impeachment and Nelson Mandela and Desmond Tutu’s testimonies before the Truth and Reconciliation Commission. The seminars conclude with an extended reading of Henri Thomas’s 1964 novel Le Parjure. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

Mary Kalantzis was from 2006 to 2016 Dean of the College of Education at the University of Illinois, Urbana-Champaign. Bill Cope is a Professor in the College of Education at the University of Illinois, Urbana-Champaign. They are co-authors of multiple books including Making Sense: Reference, Agency, and Structure in a Grammar of Multimodal Meaning (Cambridge, forthcoming), New Learning: Elements of a Science of Education (Cambridge, 2008, 2012), Literacies (Cambridge 2012, 2016) and e-Learning Ecologies (2017).

What is the relation between emotional experience and its behavioural expression? As very preliminary clarification, I mean by ‘emotional experience’ such things as the subjective feeling of being afraid of something, or of being angry at someone. On the side of behavioural expression, I focus on such things as cowering in fear, or shaking a fist or thumping the table in anger. Very crudely, this is behaviour intermediate between the bodily changes which just happen in emotional arousal, such as sweating (...) or the secretion of adrenalin, and reasoned actions done ‘out of an emotion’, such as breathing deeply to clam down, or writing a letter of complaint, for which a standard rationalizing explanation can be given.1 I pursue the relation between this experience and expression in a somewhat roundabout manner. First, I note an analogy between a problem of other minds, and Berkeley’s (1975) challenge to Locke’s (1975) realism. Second, I sketch what I regard as the correct strategy for meeting this challenge. Third, I develop and defend a parallel response to the problem of other minds, as this applies to certain basic directed emotions. This yields the following answer to my opening question. Reference to the appropriate expressive behaviour is essential to the identification of the way in which various emotional experiences present their worldly objects. (shrink)

The use of smart mouthguards in contact sports like rugby aims to enhance player safety by providing real-time data on head impacts. These devices, equipped with sensors, measure collision force and frequency, potentially identifying concussions that might go unnoticed during gameplay. The idea is that such enhanced monitoring will enable teams, physicians and other stakeholders to better protect players from the effects of on-pitch injury through immediate detection of head trauma and the long-term provision of player data. While we welcome (...) the move towards a better understanding of the potential harm that contact sports athletes may experience, introducing a new avenue through which information about player performance and health can be collected brings several areas of ethical concern absent from traditional mouthguards. In this paper, we consider four noteworthy areas: device and data efficacy, player choice, the inherent issues of such data’s existence and the harmful consequences of this data’s usage and exposure. We argue that failing to identify and address the risks associated with smart mouthguards’ employment in the elite sporting sphere not only risks the mistreatment and misapplication of player data but may also jeopardise the acceptability of a novel health monitoring method that has the potential to prevent long-term debilitating diseases. (shrink)

Desde a sua génese, a Arqueologia encontra-se entre as ciências naturais e as ciências sociais e humanísticas. Esta posição partilhada e a procura de uma maior compreensão dos seus objetos de estudo específicos, criou nos profissionais de Arqueologia uma necessidade de recorrerem a várias metodologias (e tecnologias) originárias de outras disciplinas. De forma similar a outras ciências, a Arqueologia é uma área permeável à experimentação e aplicação de conceitos teórico-práticos exógenos que levou, inclusive, à formação de diversas especialidades que unem (...) a Arqueologia e outras áreas, como a Zooarqueologia. Como aconteceu ao longo da sua história, o meio académico está perante um momento de mudança na forma como se processa a aquisição de conhecimento. O fato de estarmos na Era Digital da globalização faz com que a adaptação do meio académico a esta realidade seja mais continuada, não sendo a Arqueologia alheia a esta transformação. Após uma breve introdução ao novo "paradigma digital" das humanidades, revemos alguns dos principais usos de tecnologias relacionadas com o uso da Internet no apoio à investigação em Arqueologia (e.g., bases de dados enriquecidas), e descrevemos algumas questões relacionadas com o uso de novas ferramentas e técnicas, seus principais obstáculos e tendências. (shrink)

ABSTRACT This paper is an account of a response to a well‐intentioned and genuinely naive question concerning the nature of ‘applied philosophy’. It indicates differing points of view concerning the nature of philosophy and what one might or might not expect from it. It tries to synthesise these points of view into a position that sees philosophy as continuous with that attitude of mind that was epitomised by Socrates, an attitude of mind which is directed to every aspect or dimension (...) of human life. The notion of the enquiring activist is borrowed to encapsulate this attitude as a valuable goal of ‘applied philosophy’. (shrink)