American distance running legend Steve Prefontaine – ‘Pre’ – claimed that he was an artist and that his races were works of art. In this article, I examine and defend Pre’s claims. Using Robert Stecker’s definition of art as a guide, I argue that a race can be a work of art – specifically, performance art. I then argue that Pre’s 3,000 m American record race at the 1972 Bislett Games in Oslo, Norway, and his 5,000 m final at the (...) 1972 Munich Olympics illustrate his view of himself as an artist and are works of art in Stecker’s sense of achieving excellence in fulfilling an artistic function. (shrink)

Although philosophy courses are not known for hands-on learning activities in which students use, manipulate, or touch objects with their hands, there are simple hands-on activities that teachers can use to liven up their classrooms and foster active learning. In this paper I describe four activities I developed to attempt to improve student learning: GoldiLocke and the Three Buckets, The Argument From Disagreement Box, The Trolley Problem Reenactment, and The Lego Man of Theseus. I argue that such activities are (...) effective for two main reasons: they are fun; and they involve embodied learning. Finally, I offer some advice for developing hands-on learning activities for philosophy courses and share some of the ideas generated by session participants when I presented this material at the American Association of Philosophy Teachers Twentieth Biennial Workshop/Conference. (shrink)

In “Descartes’s Theodicy of Error,” Michael J. Latzer argues that the Fourth Meditation has “general significance for the project of theodicy” and offers “asolution to the problem of evil as complete, in its own succinct way, as Leibniz’s is on a grander scale.” I do not think that anyone has accurately understood the complex theodicy offered there, however. Commentators disagree about the argument(s) and have not carefully explained exactly what Descartes says that applies to the problem of evil. The purpose (...) of my paper is three-fold. I (1) explain the theodicy that Descartes offers to explain philosophical error in the Fourth Meditation; (2) argue that although we are justified in understanding this theodicy as concerning the problem of evil, the advice Descartes offers for avoiding philosophical error does not apply to avoiding sin (an example of evil); and (3) argue that the theodicy may actually be no theodicy at all. (shrink)

Affirming the consequent is a fallacious form of reasoning in formal logic that occurs when the minor premise of a propositional syllogism affirms the consequent of a conditional statement. A conditional statement is an “if‐then” sentence that expresses a link between the antecedent (the part after the “if”) and the consequent (the part after the “then”). A conditional statement does not assert either the antecedent or the consequent. It simply claims that if the antecedent is true, then the consequent is (...) also true. Although affirming the consequent is an invalid argument form and sometimes mistaken for, the valid argument form modus ponens. Modus ponens is a valid argument form in Western philosophy because the truth of the premises guarantees the truth of the conclusion; however, affirming the consequent is an invalid argument form because the truth of the premises does not guarantee the truth of the conclusion. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy, 'denying the antecedent'. Like affirming the consequent, denying the antecedent is also a fallacious form of reasoning in formal logic. This time the problem occurs when the minor premise of a propositional syllogism denies the antecedent of a conditional statement. Denying the antecedent makes the mistake of assuming that if the antecedent is denied, then the consequent must also be denied. Like modus ponens, modus tollens is a (...) valid argument form because the truth of the premises guarantees the truth of the conclusion; however, like affirming the consequent, denying the antecedent is an invalid argument form because the truth of the premises does not guarantee the truth of the conclusion. The invalidity of denying the antecedent is confirmed by a truth table presented in the chapter. (shrink)

American distance running legend Steve Prefontaine – ‘Pre’ – claimed that he was an artist and that his races were works of art. In this article, I examine and defend Pre’s claims. Using Robert Stecker’s definition of art as a guide, I argue that a race can be a work of art – specifically, performance art. I then argue that Pre’s 3,000 m American record race at the 1972 Bislett Games in Oslo, Norway, and his 5,000 m final at the (...) 1972 Munich Olympics illustrate his view of himself as an artist and are works of art in Stecker’s sense of achieving excellence in fulfilling an artistic function. (shrink)

Better Call Saul and Philosophy is an anthology, a collection of essays exploring the philosophical themes present in the hit television show Better Call Saul. Premiering in the Spring of 2015, Better Call Saul serves as a prequel to the much beloved and critically acclaimed television show Breaking Bad in a which mild-mannered high school chemistry teacher, Walter White - through a series of poor, albeit strained decisions - slowly but steadily becomes a monstrous drug kingpin. In Better Call (...) Saul, a struggling but cocksure attorney, Jimmy McGill goes through a similar transformation to become a cunning, devious criminal lawyer for the underworld. Beyond this, Better Call Saul is populated with a number of additional characters going through their own evolution - from a brother burdened with a psychosomatic(?) ailment, to a former police officer delving deeper into the wrong side of the law to provide for his family. -/- Much like the beloved show, Better Call Saul and Philosophy is an anthology-- a collection of snippets and essays that slowly reveal a much more complex story. Premiering in the Spring of 2015, Better Call Saul serves as a prequel to the much beloved and critically acclaimed television show Breaking Bad. Critics of the series have noted that its storytelling is emblematic, or "The New Golden Age of Television": programming that not only rewards multiple watches, but also calls for a careful, reasoned analysis of characters, plots, and themes. Better Call Saul is the type of program that is so rich with these elements that it not only calls for a book like Better Call Saul and Philosophy, but might even feel incomplete without it! -/- Now, readers can join alongside struggling-but-cocksure attorney Jimmy McGill as he goes through a series of transformative experiences and scenarios. Featuring the work of contemporary philosophers, Better Call Saul and Philosophy offers its readers a chance to delve deeply into a wide range of philosophical issues the show presents, including the nature of good and evil, personal identity, free will and determinism, the law as it relates to morality, the ethical implications of the war on drugs, death and dying, and many, many more. Fans of the show will love a chance to appreciate the show on much deeper level--and, for those hoping to learn a bit about philosophy as well as the show, the book perfectly marries the two together in a unique and engaging way. -/- This book is the latest edition (#8) in the series Pop Culture and Philosophy. (shrink)

This chapter contains sections titled: Descartes' Cogito Augustine's “Si fallor, sum” Argument (If I Am Mistaken, I Exist).

This study considers customer characteristics as situational influences on a salesperson'sethical judgment formation. Specifically, customer gender, income, and propensity to buy were considered as factors which may bias these judgments. Additionally, the gender of the salesperson and their moral value structure were examined as moderating effects. An experiment using real estate agents reading hypothetical sales scenarios revealed differences across (1) customer gender, (2) customer income, and (3) level of the respondent'sidealism. Significant interactive effects with these factors were also found involving (...) respondent gender and level of idealism. These and previous findings which consider situational effects on ethical decision-making, indicate that a more contingent approach to ethics studies is warranted. (shrink)

Recent work by Brian Skyrms offers a very general way to think about how information flows and evolves in biological networks—from the way monkeys in a troop communicate to the way cells in a body coordinate their actions. A central feature of his account is a way to formally measure the quantity of information contained in the signals in these networks. In this article, we argue there is a tension between how Skyrms talks of signalling networks and his formal measure (...) of information. Although Skyrms refers to both how information flows through networks and that signals carry information, we show that his formal measure only captures the latter. We then suggest that to capture the notion of flow in signalling networks, we need to treat them as causal networks. This provides the formal tools to define a measure that does capture flow, and we do so by drawing on recent work defining causal specificity. Finally, we suggest that this new measure is crucial if we wish to explain how evolution creates information. For signals to play a role in explaining their own origins and stability, they can’t just carry information about acts; they must be difference-makers for acts. _1_ Signalling, Evolution, and Information _2_ Skyrms’s Measure of Information _3_ Carrying Information versus Information Flow _3.1_ Example 1 _3.2_ Example 2 _3.3_ Example 3 _4_ Signalling Networks Are Causal Networks _4.1_ Causal specificity _4.2_ Formalizing causal specificity _5_ Information Flow as Causal Control _5.1_ Example 1 _5.2_ Examples 2 and 3 _5.3_ Average control implicitly ‘holds fixed’ other pathways _6_ How Does Evolution Create Information? _7_ Conclusion Appendix >. (shrink)

'the whole work is remarkably fresh, vivid and attractively written psychologists will be grateful that a work of this kind has been done ... by one who has the scholarship, science, and philosophical training that are requisite for the task' - Mind This renowned three-volume collection records chronologically the steps by which psychology developed from the time of the early Greek thinkers and the first writings on the nature of the mind, through to the 1920s and such modern preoccupations as (...) criminal and animal psychology. It is only in relatively recent times that psychology has been considered an empirical science independent of philosophy. Brett's account is thus concerned with the broadest definition of psychology, taking in such philosophical aspects as the relation of mind and body, thought processes, etc. For each period he gives an account of the state of the sciences which influenced psychology, the state of psychology itself, the influence psychology had on other areas, and the applications of psychological theories. Examining a huge range of figures, he describes their attitudes on fundamental questions and their contribution to the progress of the subject, as well as the history of the different methods of inquiry. The thinkers he discusses range from Aristotle, Democritus, Socrates, Plato, and Xenocrates to Proclus, the Arabian teachers, Magnus, Duns Scotus, and Ockham from Galileo, Descartes, Gassendi, and Cudworth to Locke, Berkeley, Condillac, and Kant from Reid, Stewart, Herbart, and Schopenhauer to Bain, Spencer, Mill and Darwin. Surprisingly clear and easy to read, Brett's account succeeds in illuminating the nature of psychology as well as its history. It remains a classic overview of the subject from its broad roots in philosophy through to the independent empirical science of the modern era. --a scarce work, rarely found as a complete set --a classic work - all historians of psychology and philosophy should have A History of Psychology. (shrink)

In The Anticipatory Corpse, Jeffrey Bishop claims that modern medicine has lost formal and final causality as the dead body has become epistemologically normative, and that a singular focus on efficient and material causality has thoroughly distorted modern medical practice. Bishop implies that the renewal of medicine will require its housing in alternate social spaces. This essay critiques both Bishop’s diagnosis and therapy by arguing, first, that alternate social imaginaries, though perhaps marginalized, are already present within the practice of medicine. (...) And second, the essay argues that alternate social imaginaries in medicine can be reclaimed not through separatist communities but in the re-narration of conceptually underdetermined practices. Given Bishop’s invitation for theology to engage medicine, this essay then draws from theologian Dietrich Bonhoeffer for the kind of diagnosis and therapy currently needed, concluding with a contemporary example of how an alternate social imaginary is being instantiated in modern medicine. (shrink)

Approaching the study of literature as a unique form of the philosophy of language and mind--as a study of how we produce nonsense and imagine it as sense--this ...

Understanding how cooperation evolves is central to explaining some core features of our biological world. Many important evolutionary events, such as the arrival of multicellularity or the origins of eusociality, are cooperative ventures between formerly solitary individuals. Explanations of the evolution of cooperation have primarily involved showing how cooperation can be maintained in the face of free-riding individuals whose success gradually undermines cooperation. In this paper I argue that there is a second, distinct, and less well explored, problem of cooperation (...) that I call the generation of benefit. Focusing on how benefit is generated within a group poses a different problem: how is it that individuals in a group can (at least in principle) do better than those who remain solitary? I present several different ways that benefit may be generated, each with different implications for how cooperation might be initiated, how it might further evolve, and how it might interact with different ways of maintaining cooperation. I argue that in some cases of cooperation, the most important underlying “problem” of cooperation may be how to generate benefit, rather than how to reduce conflict or prevent free-riding. (shrink)

This review of Wimsatt’s book Re-engineering Philosophy for Limited Beings focuses on analysing his use of robustness, a central theme in the book. I outline a family of three distinct conceptions of robustness that appear in the book, and look at the different roles they play. I briefly examine what underwrites robustness, and suggest that further work is needed to clarify both the structure of robustness and the relation between it various conceptions.

In this discussion I shall argue that some fairly widely held views about human habits are mistaken. These misconceptions are important because of the pervasiveness of the habitual in human behavior and because it is the concept of habit that has served as the prototype of various conceptions of conditioned response which are used in psychological explanation. One major task of this analysis is to show that accounts in which actions are explained by reference to rules are not incompatible with (...) accounts in which the same behavior is seen as the product of habit. (shrink)

The notion of a genetic program has been widely criticized by both biologists and philosophers. But the debate has revolved around a narrow conception of what programs are and how they work, and many criticisms are linked to this same conception. To remedy this, I outline a modern and more apt idea of a program that possesses many of the features critics thought missing from programs. Moving away from over-simplistic conceptions of programs opens the way to a more (...) fruitful interplay of ideas between the complexity of biology and our most complex engineering discipline. (shrink)

_Examines the significance of animal environments in contemporary continental thought._.

According to Pigliucci and Kaplan, there is a revolution underway in how we understand fitness landscapes. Recent models suggest that a perennial problem in these landscapes—how to get from one peak across a fitness valley to another peak—is, in fact, non-existent. In this paper I assess the structure and the extent of Pigliucci and Kaplan’s proposed revolution and argue for two points. First, I provide an alternative interpretation of what underwrites this revolution, motivated by some recent work on model-based science. (...) Second, I show that the implications of this revolution need to carefully assessed depending on question being asked, for peak-shifting is not central to all evolutionary questions that fitness landscapes have been used to explore. (shrink)

Comparing engineering to evolution typically involves adaptationist thinking, where well-designed artifacts are likened to well-adapted organisms, and the process of evolution is likened to the process of design. A quite different comparison is made when biologists focus on evolvability instead of adaptationism. Here, the idea is that complex integrated systems, whether evolved or engineered, share universal principles that affect the way they change over time. This shift from adaptationism to evolvability is a significant move for, as I argue, we can (...) make sense of these universal principles without making any adaptationism claims. Furthermore, evolvability highlights important aspects of engineering that are ignored in the adaptationist debates. I introduce some novel engineering examples that incorporate these key neglected aspects, and use these examples to challenge some commonly cited contrasts between engineering and evolution, and to highlight some novel resemblances that have gone unnoticed. (shrink)

‘Rentier capitalism’ is the term increasingly used to describe economies dominated by rentiers, rents, and rent-generating assets. A growing body of scholarship considers how the ownership of such assets by individuals and households is reshaping patterns of class and inequality and accordingly requires the reconceptualisation of the latter phenomena. The significance of company-owned assets and corporate rents for class, inequality and their conceptualisation has not been considered, however. This article offers an exploratory investigation along these lines, highlighting the importance of (...) employees’ working relationship to company-owned, rent-generating assets for their class position. The article further reflects on how developments in this regard might be approached from the perspective of Marx’s writing on value, labour and class, and the challenges that those developments potentially pose to Marxian concepts. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In his recent book, English Poetry; A Critical Introduction , Mr. F. W. Bateson makes the observation that as romantic criticism is now dead it should receive “decent and final interment.” By “romantic” criticism he seems to have in mind either what he calls the Pure Sound theory of poetry, which would have us believe that meaning has nothing to do with poetry, that poetry makes nothing but an emotional or physiological impact upon us; or the suggestion theory which argues (...) that “a good poem should mean very little while suggesting a good deal.” Both of these, according to Mr. Bateson, attempt “to justify the exclusion of meaning from poetry.”. (shrink)

From the Crusades to the colonial era to the global war on terror, this sweeping volume exposes “civilization” as a stage-managed account of history that ...

This article examines the reception of Robert Grosseteste by John Duns Scotus on two related questions in epistemology. The first concerns the need of phantasms for cognition, and the second concerns divine illumination. The study first examines Scotus’s Questions on the De Anima with comparison to Grosseteste’s Commentary on the Posterior Analytics, a text Scotus cites specifically. It is argued that Grosseteste is the main influence behind Scotus’s opinion that the need for phantasms is not proper to human nature as (...) such. The second part shows how Scotus disagrees with Grosseteste on a related question. Grosseteste retains a version of divine illumination with a qualified need for phantasms, whereas Scotus maintains the strict necessity of phantasms in this life and rejects illumination. The two parts of this study taken together indicate that Scotus saw Grosseteste as an authority but also felt free to ignore him where the two disagreed. (shrink)

It would be difficult to find a major figure in the history of European political thought who would not have attempted to say something about how authority emerges, or is justified and critiqued, in the world beyond the single polity. Quite frequently, that effort would have involved some idea about a legal order, or at least a set of rules or regularities applicable in that world. Thomas Hobbes was neither the first nor the last major thinker who believed that the (...) 'international' realm was characterised by the independence of states existing 'in the state and posture of gladiators', thus apparently denying that legal rules or practices or legal thinking could have much relevance therein. Yet others believed, as Immanuel Kant did, that without a constitutional vocabulary not much that was meaningful could be said about the human pursuit of freedom, and that silence about the latter would not only constitute a moral failure but an intellectual and perhaps political mistake. For a long time, the idiom of natural law claimed to offer a universally valid frame for thinking about the nature of the political, as well as providing authority for lawyers' speculations about the rules and principles governing the conduct of individuals and corporate bodies wherever they might move. The name of the relevant discipline at German universities from the late seventeenth century onwards-ius naturae et gentium, the law of nature and of nations-revealed the full scope of its ambition. That discipline may have died away (although that is a debatable proposition) but any political thinking worth its salt will today (perhaps especially in the twenty-first century) aim to say something about how authority emerges, is maintained or critiqued not only within but also outside the single state. The world of 'nations' or even 'humanity' is established as an important theme of political and legal speculation. (shrink)

New Approaches to Religion and the Enlightenment examines religious belief and practice during the age of Enlightenment from a range of disciplinary perspectives, including theology, the natural sciences, politics, the law, art, philosophy, and literature.

This paper describes a pattern of explanation prevalent in the biological sciences that I call a ‘lineage explanation’. The aim of these explanations is to make plausible certain trajectories of change through phenotypic space. They do this by laying out a series of stages, where each stage shows how some mechanism worked, and the differences between each adjacent stage demonstrates how one mechanism, through minor modifications, could be changed into another. These explanations are important, for though it is widely accepted (...) that there is an ‘incremental constraint’ on evolutionary change, in an important class of cases it is difficult to see how to satisfy this constraint. I show that lineage explanations answer important questions about evolutionary change, but do so by demonstrating differences between individuals rather than invoking population processes, such as natural selection.1. Introduction2. Turning a ‘Scale’ into a ‘Plume’3. Lineage Explanations in Biology3.1. The evolution of eyes3.2. The evolution of feathers4. The Two Dimensions of a Lineage Explanation4.1. The production dimension4.2. The continuity dimension4.3. The dual role of the parts5. Constraining the Explanations6. Operational and Generative Lineages7. Explaining Change Without Populations8. Conclusion. (shrink)

In the Principles of Philosophy the first positive claim that Descartes makes after he has established his skeptical starting point is not the claim of the cogito. It is, rather, the claim that “we possess a free will.”.

The book explores the theological understanding of the human person. It does so by placing the theology of person in Karl Rahner's writings in dialogue with the philosophy of the relational person in the works of John Macmurray. It is through the method of dialogue that new insights into the theology of person arise.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 9.4 (2002) 353-358 [Access article in PDF] The Application of Nondual Epistemology to Anomalous Experience in Psychosis Caroline Brett THE COMMENTARIES PROVIDED by Marzanski and Bratton, and McGhee have drawn my attention to several ways in which my analysis could benefit from clarification or supplementation, and the range of the specific phenomena to which it can be applied. Since writing this paper nearly (...) 3 years ago, my own views of the area have developed, and in some aspects, shifted; nevertheless, within this response I shall comment on the specific aspects of the original paper that I feel may have been misunderstood or overlooked by the commentators, and those aspects that benefit from the broader perspective they provided.To clarify the direction of the original paper: I would describe it as an attempt to make a deeper examination of processes involved in some kinds of anomalous experience than is provided by the "cognitive problem-solving model"; in other words, to supplement rather than challenge or undermine this perspective. Moreover, the focus is intended to be more on identifying the point at which the experience, or the response to the experience (more on the relation between these two below) becomes pathological, than on cleanly distinguishing a psychotic state from a mystical one. However, because I do use these terms contrastively throughout the paper, I concede that these aims become blurred and may in fact be indistinguishable.Third, the paper concerns only a relatively narrow arena of both mystical and psychotic phenomenology, selected for the purpose of a tight conceptual analysis and comparability, and possibly suffers a lack of generalizability or scope of application as a result. Most notably, I leave aside the paranoid or persecutory interpretative framework often seen as paradigmatic of the psychotic state (although a brief mention of how emotionally relevant themes may arise out of anomalous cognition is included), focussing instead on the more "Schneiderian" aspects of psychotic phenomenology, in which there is a self-observed alteration of normal experience. 1 It may be an important point of contrast that I do not specifically focus on "hallucinations, voices, and visions" as described by McGhee and, to an extent, Jackson and Fulford. It may also be worth [End Page 353] flagging up the fact that I do not focus on "delusional beliefs" at all, instead choosing to focus on the "delusional mood," which notably does not involve crystallized delusions as such. As a result, the main aim is not to compare two descriptively defined states of mind, as seems to be suggested by McGhee in his commentary, but rather to see to what extent a certain form of experience can be understood within a particular epistemological structure, and the implications of this.Further to this issue, Marzanski and Bratton raise an objection to a view in which a common core of mystical experience is posited; one which could be identified interculturally and independently of "the language and tradition in which the self is formed." They make an important point that the perspective gained by applying the epistemology of Zen Buddhism or Advaita Vedanta may have no authority in helping to understand the locus of pathology in anomalous experiences that have occurred in an individual who is not established in these cultures or traditions or for a person who does not accept these epistemologies in the first place. The issue of the existence of some core mystical experiences that are translated into religious experiences in different cultures is a matter of comparative religion and theology, and outside the scope of this paper (although my own opinion is that such a core exists). In the absence of any argument to support this opinion, it must be conceded that this may severely limit the applicability of my analysis, especially if irreconcilable differences are thought to exist between the epistemologies of, for example, theistic and monistic philosophies. However, I would suggest that whatever wisdom can be gleaned from the various spiritual doctrines in existence around the world with regard to unusual and/or distressing states of mind should be absorbed where... (shrink)

Qualitative research methods in sport often advocate that to understand others, obtain significant knowledge and do ethically admirable research we should empathise with our participants by imagining being them. In philosophy, it is likewise often assumed that we can overcome differences between people through moral imagination: putting ourselves in the place of others, we can share their points of view, merge with them, and enter into their embodied worlds. Drawing partly on the view that imagination is embodied and the (...) philosophy of Bakhtin and Levinas, along with research on people's experiences of becoming disabled through playing sport, this paper problematises the assumption that we can imagine ourselves differently situated or being another person. It argues that our imagination and ability to put ourselves in the place of others is constrained partly by embodied experience and otherness. Some reflections on what this might mean for disability and sport research are then offered. (shrink)

Hilary Greaves and David Wallace argue that conditionalization maximizes expected accuracy and so is a rational requirement, but their argument presupposes a particular picture of the bridge between rationality and accuracy: the Best-Plan-to-Follow picture. And theorists such as Miriam Schoenfield and Robert Steel argue that it's possible to motivate an alternative picture—the Best-Plan-to-Make picture—that does not vindicate conditionalization. I show that these theorists are mistaken: it turns out that, if an update procedure maximizes expected accuracy on the Best-Plan-to-Follow picture, it's (...) guaranteed to maximize expected accuracy on the Best-Plan-to-Make picture as well, in which case moving from the former to the latter can't help us avoid the conclusion that conditionalization is a rational requirement. If there's a problem with Greaves and Wallace’s argument, it must lie elsewhere. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:59. HUME'S DEBT TO KANT Various commentators on Hume's work have argued that his examination of our causal reasoning is not fundamentally at odds with the claims made by Kant in his supposed "answer to Hume". One way of making the connection, suggested by Wolff for example, is to emphasize the ways in which Humean epistemology depends upon a theory of mental activity. If this activity itself can only (...) be understood in terms of built-in "propensities" of the mind, these dispositions can be interpreted as psychological descriptions of a mind operating in accordance with something quite like Kantian categories. Another way of arguing for this compatibility between Hume and Kant is to bring out central principles (e.g., relating to causation ) which Hume's account depends upon, but which are such that they cannot be given an experiential foundation. Lewis White Beck has offered such a Kantianization of Hume, arguing that beneath the surface of the official Empiricist Hume (and just outside Hume's view of what he was doing) there is a commitment to principles that have 2 an a priori status in his theory. If Beck is right about this, we might speak with tongue only partially in cheek, of Hume's debt to Kant, for the Kantian categories could be taken as the systematic working out of the underpinnings of Hume's theory. In this paper I shall consider this problem only insofar as it relates to causal reasoning. I focus on Professor Wilson's defense of the Empiricist Hume, in which it is denied that our causal reasoning rests upon a priori principles. The principles in question are that (1) Every event has some cause, and (2) That like causes have like effects, and like effects like causes. Wilson argues that these are both empirical generalizations within an account that is both plausible and Humean. I shall 60. argue briefly that, contrary to Wilson's claim, the Humean account of causation makes the second of these an a priori truth because it is analytic. The first is certainly not an analytic truth, but it could not have been derived from experience, at least as Hume depicts our experience. It thus seems to be a claim that is functioning as synthetic and a priori in Hume's account of our beliefs. Except in the general way that this phrase implies, this paper is not really about Kant, who will barely be mentioned again. In my discussion of Wilson's argument I will not deal with the formalizations which he has introduced, but will attempt to capture the main lines of argument in more or less ordinary language. In proceeding thus, I am siding with Hume in siding with the vulgar. Having listed the eight rules of causal judgment which are under discussion here, Hume says Here is all the LOGIC I think proper to employ in my reasoning; and perhaps even this was not very necessary, but might have been supply 'd by the natural principles of our understanding. Our scholastic headpieces and logicians shew no such superiority above the mere vulgar in their reason and ability, as to give us an inclination to imitate them in delivering a long system of rules and precepts to direct our judgment, in philosophy. (T175) 1. The basic problem is whether or not Hume's explanation of our causal reasoning depends upon the assumption that all events have causes, and depends upon it in a way that makes this assumption a priori. Beck (and Wolff) have argued that this is the case, and hence that Hume is much closer to Kant than is commonly supposed. This Wilson denies. The argument revolves around the cases in which we fail to observe the causes we have come to associate with certain effects (or, in principle, vice versa) so that the conjunction of events is not "constant". The Humean account of what happens in such circumstances is that the imagination supplies the deficiency; we feign unobserved events to 4 fill the gap. But whereas Hume frequently disparages such 61. exercises of the fancy (as he calls them) he does not do so here. Hence, one may ask, what entitles us... (shrink)

Augustine held that scripture could have multiple true meanings, and scholars of Augustine have given this topic considerable treatment. Some have recognized the importance of divine authorial intention in this matter, but the relevance of ancient semantics to Augustine’s hermeneutics has not received sufficient attention. Ancient speakers would often explain a concept in varied ways that could all be considered true. This practice created the possibility that an author could intend for certain terms to be understood in multiple ways. I (...) call this a complex authorial intention. After describing some of the prominent views on Augustine’s multiple meanings of scripture, I will establish the concept of complex authorial intention from ancient semantic practice. In the light of these first two sections I will proceed to analyze three key texts in Augustine’s corpus: Confessions 12.30.41 and 13.24.37, as well as De Doctrina Christiana 3.2.2. I will argue that Augustine saw complex divine authorial intention as a theoretical justification for the multiplicity of meanings in scripture and that this view sets objective limits on the range of possible meanings. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)