An anthology of writings by and about Rudolf Steiner qua economist that documents his search for a deeper understanding of modern economic life. This book throws light on many of the problems that face us today, problems that we cannot solve unless we take hold of the economic life in a conscious, human way and resist the temptation to defer to market forces alone. Though well-known as a seer, the idea of Rudolf Steiner as an economist may seem surprising. Seers (...) do not usually have much concrete to say about economic life, beyond laments about its evils and injunctions that it be guided by some moral dimension. Rudolf Steiner, however, gave many lectures and wrote many articles about modern economic life, which he saw as the arena in which humanity has to find a new relationship to the spirituality that formerly came from above or outside -- from churches and external principles. Today the human being has to find morality within, which one cannot fully do unless one takes hold of the economic realm in a conscious, human way. Whether through concrete references to the meaning and working of money, or in attempting to give a fuller understanding of work or of the significance of market economics in our time, Steiner shows himself to be well versed in the subject. This publication presents a selection of his articles in a context of essays by Christopher Houghton Budd. (shrink)

This volume brings together eminent theologians, philosophers and political theorists to discuss such questions as how religious understandings have shaped the moral landscape of contemporary culture; the possible contributions of theology and theologically informed moral argument to contemporary public life; the problem of religious and moral discourse in a pluralistic society; and the proper relationship between religion and culture.

My response consists essentially of an attempt to throw light on Peacocke's basic proposal as to how musical expressiveness should be understood by a comparison and contrast with a somewhat similar suggestion of mine.

The paper begins with an overview of various well-known accounts of the musical expression of emotion that have been proposed in recent years. But rather than proceeding to assess the merits and faults of these accounts the paper examines whether a radically new theory by Christopher Peacocke is superior to all of them. The theory, which certainly has a number of attractive features, is based on the idea of metaphorical-as perception. The notion of metaphorical-as perception needs to be elucidated (...) and the examination of Peacocke’s theory takes place by playing it off against a rival theory that is based on a different kind of perception, imaginative-as perception. The paper argues that, as the basis of an account of the musical expression of emotion, imaginative-as perception has all the advantages and none of the apparent defects of metaphorical-as perception. (shrink)

Our lives are such that moral wrongdoing is sometimes inescapable for us. We have moral responsibilities to persons which may conflict and which it is wrong to violate even when they do conflict. Christopher W. Gowans argues that we must accept this conclusion if we are to make sense of our moral experience and the way in which persons are valuable to us. In defending this position, he critically examines the recent moral dilemmas debate. He maintains that what is (...) important in this debate is not whether there are irresolvable moral conflicts, but whether there are moral conflicts in which wrongdoing is unavoidable. Though it would be incoherent to conclude moral deliberation by deciding to perform incompatible actions, he argues that there is nothing incoherent in supposing that we have conflicting moral responsibilities. In this way, he shows that it is possible to capture the intuitions of those who have defended the idea of moral dilemmas while meeting the objections of those who have rejected this idea. Gowans carefully evaluates utilitarian and Kantian analyses of moral dilemmas. He argues that these approaches eliminate genuine moral conflict only by displacing persons as direct objects of moral concern. As an alternative, he develops a more concrete account in which moral responsibilities to persons are central. The book also includes discussions of Melville's Billy Budd, methodology in moral philosophy, moral pluralism, moral tragedy, and "dirty hands" in politics. (shrink)

David Hume's relatively short essay 'Of the Standard of Taste' deals with some of the most difficult issues in aesthetic theory. Apart from giving a few pregnant remarks, near the end of his discussion, on the role of morality in aesthetic evaluation, Hume tries to reconcile the idea that tastes are subjective (in the sense of not being answerable to the facts) with the idea that some objects of taste are better than others. 'Tastes', in this context, are the pleasures (...) or displeasures that a person can take in the beauties of poems, paintings, and other artistic compositions (though Hume also wants to stress the continuities between tastes, so understood, and the bodily sense of taste). The position at which Hume arrives in the essay (despite some dialectical unclarity) is that some people – the 'true judges'– determine by their 'joint verdict' which works are meritorious. This solution continues to exercise a fascination, as does Hume's complicated route to it. Author Recommends: Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. This paper places 'Of the Standard of Taste' in an especially rich context, and asks why Hume concentrates on true judges instead of the improvement of one's own taste. Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon Press, 1984), 177–208. This chapter, embedded in an exposition of Mothersill's 'First Thesis' (the denial that there are principles of taste) and 'Second Thesis' (the affirmation that some judgments of taste are genuine judgments), gives a detailed running commentary on Hume's essay. A shorter self-contained version of the chapter appeared as 'Hume and the Paradox of Taste' in Aesthetics: A Critical Anthology , 2nd ed., eds. George Dickie, Richard Sclafani, and Ronald Roblin (New York, NY: St. Martin's Press, 1989, 269–86). Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. An importance recent article, Levinson's piece argues that the 'real' difficulty with Hume's essay has gone unnoticed: why should I care about what Hume's true judges think? Christopher Williams, 'Some Questions in Hume's Aesthetics', Philosophy Compass 2/2 (2007). This article provides a brief overview of the topics discussed under weeks 3–5 in the sample syllabus below. It is intended to provide a roadmap for the particular set of readings listed there. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. This is a stimulating paper in moral philosophy that treats Hume's essay on taste as a model for a serious subjectivism. Wiggins then presents his own brand of subjectivism as an alternative to Hume's. Online Materials: Hume's Aesthetics (Ted Gracyk): http://plato.stanford.edu/entries/hume-aesthetics/ Sample Syllabus: Recommended background reading on Hume's historical context: Peter Kivy, The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics , 2nd ed. (Oxford: Oxford University Press, 2003), especially Part III. Recommended background reading on the general topic of taste: David A. Whewell, 'Taste', Blackwell Companion to Aesthetics (Oxford: Blackwell, 1992), 415–18. Dabney Townsend and Carolyn Korsmeyer, 'Taste', Encyclopedia of Aesthetics , ed. Michael Kelly (New York, NY and Oxford: Oxford University Press, 1998), 4:355–62. Ted Cohen, 'The Philosophy of Taste: Thoughts on the Idea', Blackwell Guide to Aesthetics , ed. Peter Kivy (Oxford: Blackwell, 2004), 167–73. Week 1: Hume on beauty, art, and aesthetic judgment in the Treatise of Human Nature and the Enquiry Concerning the Principles of Morals The following references are usable for any complete edition of the Treatise or Enquiry Treatise , 2.1.8 ('Of Beauty and Deformity') Treatise , 2.2.5 ('Of Our Esteem for the Rich and Powerful') Treatise , 2.2.8 ('Of Malice and Envy'), final three paragraphs Treatise , 2.2.11 ('Of the Amorous Passion, or Love Betwixt the Sexes') Treatise , 3.1.2 ('Moral Distinctions Deriv'd from a Moral Sense') Treatise , 3.3.1 ('Of the Origin of the Natural Virtues') Treatise , 3.3.5 ('Some Farther Reflexions Concerning the Natural Virtues') Enquiry , Appendix 1 ('Of moral sentiment') Week 2: Hume's essays Essays Moral, Political, and Literary , ed. Eugene Miller (Indianapolis, IN: LibertyClassics, 1985) is the most commonly used edition today. 'Of the Delicacy of Taste and Passion' 'Of Eloquence' 'Of the Rise and Progress of the Arts and Sciences' 'Of Simplicity and Refinement in Writing' 'Of Tragedy' 'Of the Standard of Taste' Week 3: Circularity–Virtuous or Vicious? Peter Kivy, 'Hume's Standard of Taste: Breaking the Circle', British Journal of Aesthetics (1967): 57–66. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. Week 4: Rules of Art Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon, 1984), 177–208. James Shelley, 'Hume's Double Standard of Taste', Journal of Aesthetics and Art Criticism (1994): 437–45. Nick Zangwill, 'Hume, Taste, and Teleology', The Metaphysics of Beauty (Ithaca, NY: Cornell University Press, 2001), 149–65. Week 5: The True Judge Malcolm Budd, 'Hume and Kant', 'Hume's Standard of Taste', 'Hume and Human Nature', Values of Art (London: Allen Lane, 1995), 16–24 . Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. Week 6: Moralism in Aesthetic Judgment: Hume and Beyond Kendall Walton, 'Morals in Fiction and Fictional Morality', Proceedings of the Aristotelian Society (1994): 27–50. Richard Moran, 'The Expression of Feeling in Imagination', Philosophical Review (1994): 75–106. Tamar Szabo-Gendler, 'The Puzzle of Imaginative Resistance', Journal of Philosophy (2000): 55–81. Focus Questions 1. How does Hume distinguish between matters of 'fact' and 'sentiment'? 2. What is a 'rule of art', and are there any rules? 3. Can a bad critic be 'silenced'? 4. What are the characteristics of good critics? 5. Should we expect good critics to agree on the merits of a work, and should I care about becoming a good critic myself? 6. Is it possible to distinguish variations in taste for which we should expect a standard and variations for which it is 'vain' to have such an expectation? 7. How is the excellence of a work related to the exercise of taste? 8. If a work of literature has a moral outlook that differs from our own, should we consider the work defective on literary grounds? (shrink)

In 1965 Peter Winch published ‘The Universalisability of Moral Judgements’. I feel that the argument in this paper has never been successfully refuted, and that it remains relevant to many contemporary debates in moral philosophy. Winch argued against the widespread assumption that a moral judgement, if true, ought to be universalisable for all people in relevantly similar situations. He considers the example of Captain Vere in Melville’s ‘Billy Budd’: Vere managed to condemn a man he considered innocent, while Winch (...) concludes that in the same situation he could not have done it. Many contemporary moral realists would demand that at least one of them was incorrect, probably because of misperceiving the situation . Instead, says Winch, there is a sense in which one action legitimately ‘struck’ Vere, but not Winch, as correct, and that this is the end of the ‘dispute’ between them. However, this requires a robust defence against counter-charges of relativism. Part of the problem with Winch’s article, I argue, is his ambiguous use of the concept of ‘moral rightness’, but I remedy this, and defend Winch against two further sympathetic criticisms. (shrink)

Can we understand what makes someone the same person without understanding what it is to be a person? Prereflectively we might not think so, but philosophers often accord these questions separate treatments, with personal-identity theorists claiming the first question and free-will theorists the second. Yet much of what is of interest to a person—the possibility of survival over time, compensation for past hardships, concern for future projects, or moral responsibility—is not obviously intelligible from the perspective of either question alone. Marya (...) Schechtman encourages us to adopt a more unified perspective. (shrink)

Philosophers of music often appeal to intuition to defend ontological theories of musical works. This practice is worrisome as it is rather unclear just how widely shared are the intuitions that philosophers appeal to. In this paper, I will first offer a brief overview of the debate over the ontology of musical works. I will argue that this debate is driven by a conflict between two seemingly plausible intuitions—the repeatability intuition and the creatability intuition—both of which may be defended on (...) the grounds that they are reflective of our actual musical practices. The problem facing philosophers within this debate is that there is no clear way to determine which of the two conflicting intuitions is more reflective of our musical practices. Finally, I offer discussion of an experimental study that was designed to test participants' intuitions regarding the repeatability of musical works. The evidence presented there suggests that the participants broadly accept the repeatability of musical works, but in a much narrower way than philosophers would likely accept. (shrink)

Optimistic predictions that genetic and genomic testing will provide health benefits have been tempered by the concern that individuals who receive their results may experience negative psychosocial outcomes. This potential ethical and clinical concern has prompted extensive conversations between policy‐makers, health researchers, ethicists, and the general public. Fortunately, the psychosocial consequences of such testing are subject to empirical investigation, and over the past quarter century, research that clarifies some of the types, likelihood, and severity of potential harms from learning the (...) results of the testing has accumulated. I aim to provide an overview of the findings of this research by looking at selected systematic reviews. This will convey the gist of the literature’s quality and coverage, reveal gaps in existing knowledge, and highlight promising areas for future scholarship. (shrink)

Seth Shabo has presented a new argument that attempts to codify familiar worries about indeterminism, luck, and control. His ‘Assimilation Argument’ contends that libertarians cannot distinguish overtly randomized outcomes from exercises of free will. Shabo claims that the argument possesses advantages over the Mind Argument and Rollback Argument, which also purport to establish that indeterminism is incompatible with free will. I argue first that the Assimilation Argument presents no new challenges over and above those presented by the Rollback Argument, and (...) second that the Rollback Argument itself neither presents a deep challenge to, nor raises the cost of, accepting libertarianism. (shrink)

One of the major developments in cancer research in recent years has been the construction of models that treat cancer as a cellular population subject to natural selection. We expand on this idea, drawing upon multilevel selection theory. Cancer is best understood in our view from a multilevel perspective, as both a by-product of selection at other levels of organization, and as subject to selection at several levels of organization. Cancer is a by-product in two senses. First, cancer cells co-opt (...) signaling pathways that are otherwise adaptive at the organismic level. Second, cancer is also a by-product of features distinctive to the metazoan lineage: cellular plasticity and modularity. Applying the multilevel perspective in this way permits one to explain transitions in complexity and individuality in cancer progression. Our argument is a reply to Germain’s scepticism towards the explanatory relevance of natural selection for cancer. The extent to which cancer fulfills the conditions for being a paradigmatic Darwinian population depends on the scale of analysis, and the details of the purported selective scenario. Taking a multilevel perspective clarifies some of the complexities surrounding how to best understand the relevance of evolutionary thinking in cancer progression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Paradox of Kandinsky's Abstract RepresentationKenneth BerryThere is a paradox in the relationship between Kandinsky's use of the terms, "abstract" and "concrete," which is presented in the expression, "Kandinsky's abstract representation." Thisexpression, while being apparently contradictory, may point to a feature underpinning Kandinsky's art, which is pivotal to a proper experience of his work, just as, in Christopher Middleton's view, a poetic language may be pivotal to the (...) formation of cultures.1 Art and cultural artifacts are vital to aesthetic experience and aesthetic education, and both the language of art and other languages are instrumental to this end. However, how may Kandinsky's mature abstraction, being in essence objectless, have any claim to representation, and consequently the higher cultural goals of aesthetic expression and the aesthetic enrichment of society?According to Thomas M. Messer, the position of centrality that Kandinsky has assumed in our understanding of modern art is largely due to his having brought to bear on his art, an instinctive awareness of what constituted the central aesthetic issues of his era.2 Kandinsky's writings in Concerning the Spiritual in Art elaborate on his aesthetic theories, and, in particular, [End Page 99] present the view that paintings should be looked at as a graphic representation of a mood rather than as a representation of objects. Messer observes that, for Kandinsky, abstraction, defined as a mode of painting extending beyond the depiction of recognizable objects, having gradually stripped itself of mimetic vestiges, thus becomes paramount. Michael Carter has similarly pointed out that with the pure forms of absolute abstraction, the non-objective colors and shapes of Kandinsky's paintings were regarded as distillations of the aesthetic properties of the artistic sign3 — separable from any referential aspect of art.4 This aesthetic aspect of Kandinsky's work, which became known as nonfigurative, nonobjective, or nonrepresentational,goes along with the cultural — and, as sculptor Anish Kapoor has remarked, "in the deepest, deepest depths of human history the cultural has always been a motivator of people," and has the power to transform society through finding visual equivalents for an emotional language.5Much has been written about Kandinsky's use of color, but perhaps the primary innovation that he made, as in the case of Barnett Newman, was in the field of drawing. Kandinsky was influenced by Gauguin's idea that drawing was an abstraction from memory after nature, just as Gauguin had been affected by the simplified contours and flattened forms of Puvis de Chavannes. Drawing did not come so easily to Kandinsky as color — he had to work harder at drawing, but in his early improvisations, forms and their outlines as graphic symbols came welling up from the unconscious, and eidetic motifs only had to be copied — almost as the art of calligraphy. Kandinsky's "organic" drawing developed as an urge to nonnaturalistic impulses, and during the period of Point and Line to Plane became almost a grammar of form, saved from mere pedantry by the living forces or visual tensions that made various kinds of line operate not just as contours but as dynamic or restful elements within themselves. In 1913, Kandinsky wrote in his "Reminiscences" that, "painting is a thundering collision of different worlds, intended to create a new world in, and from, their struggles with one another, a new world which is the work of art."6 It is clear from this that the Modernist work of art was intended to be a "new world" operating according to its own universal aesthetic laws.Kandinsky is not just a painter; he is also a visual poet. Poetry, according to Tony Curtis, involves the expression of the intensification of experience — the elevation of banal facts of life into something beyond the merely prosaic — something unique and perceptively heightened.7 It involves both imagination and poetic license to explore both ambiguity and paradox. As Scottish poet Norman MacCaig observed, poetry renders the ordinary extraordinary, seeing the unfamiliar in the familiar.8 Creative analogical thinking such as evinced in Kandinsky's art, often involves breaking free of a clichéd representation.Malcolm Budd has remarked that, in its most exclusive sense, a work... (shrink)

Explaining Auschwitz and Hiroshima: History Writing and the Second World War, 1945?1990. By R. J. B. Bosworth (London and New York: Routledge, 1993) xv + 260 pps. £40.00 cloth.

Ethics & Behavior, Volume 21, Issue 5, Page 428-430, September-October 2011.

The craftworker is considered to be an exemplar of attention to quality, service to the public, personal satisfaction and the embodiment of tradition. The teacher as craftworker can safely be seen as one of the three archetypes of the teacher described briefly in Chapter 4. Furthermore, it is perhaps the default conception of the teacher in recent philosophical treatments of the nature of teacher's work. This conception is examined and criticised.

I interpret Kant's distinction between free and dependent beauty in a way that makes it possible for an object to be judged dependently beautiful without being judged freely beautiful. This is an alternative to the analyses provided by Malcolm Budd and Christopher Janaway, which both face a dilemma because they entail that an object must be judged freely beautiful in order to be judged dependently beautiful. The dilemma is that either the determinant of a judgement of dependent beauty (...) is based upon non-aesthetic criteria (if the object is not freely beautiful), or else the judgement is superfluous for an account of aesthetic value. My analysis of the distinction allows both kinds of beauty to play a meaningful role in a theory of aesthetic value. (shrink)

Synthetic biology is a cutting-edge area of research that holds the promise of unprecedented health benefits. However, in tandem with these large prospective benefits, synthetic biology projects entail a risk of catastrophic consequences whose severity may exceed that of most ordinary human undertakings. This is due to the peculiar nature of synthetic biology as a ‘threshold technology’ which opens doors to opportunities and applications that are essentially unpredictable. Fears about these potentially unstoppable consequences have led to declarations from civil society (...) groups calling for the use of a precautionary principle to regulate the field. Moreover, the principle is prevalent in law and international agreements. Despite widespread political recognition of a need for caution, the precautionary principle has been extensively criticized as a guide for regulatory policy. We examine a central objection to the principle: that its application entails crippling inaction and incoherence, since whatever action one takes there is always a chance that some highly improbable cataclysm will occur. In response to this difficulty, which we call the ‘precautionary paradox,’ we outline a deliberative means for arriving at threshold of probability below which potential dangers can be disregarded. In addition, we describe a Bayesian mechanism with which to assign probabilities to harmful outcomes. We argue that these steps resolve the paradox. The rehabilitated PP can thus provide a viable policy option to confront the uncharted waters of synthetic biology research. (shrink)

Anna Vaninskaya's Fantasies of Time and Death: Dunsany, Eddison, Tolkien brings together three major writers of fantasy and studies their treatment of temporality and mortality. This book is about our ongoing conversation regarding time and death and the unique ability for fantasy to tackle these biggest of subjects. If writers have long envisioned time as a river and death as the sea, for instance, what Vaninskaya's new book discusses is how fantasy allows us, through the use of impossible creations and (...) new metaphors, to imagine new ways of understanding our ontological trap. The genre attempts to try to see the world as one of the gods creating it, or to understand time as the eternal burden of the elves; we may... (shrink)

This chapter contains section titled: Feeble Versions Robust Versions The Body View Who's Who? The Soul View The Reincarnation View Is There an Afterlife? Might I Live On?

Throughout history, war seems to have had an iron grip on humanity. In this short book, internationally renowned philosopher of war, Christopher Coker, challenges the view that war is an idea that we can cash in for an even better one - peace. War, he argues, is central to the human condition; it is part of the evolutionary inheritance which has allowed us to survive and thrive. New technologies and new geopolitical battles may transform the face and purpose of (...) war in the 21st century, but our capacity for war remains undiminished. The inconvenient truth is that we will not see the end of war until it exhausts its own evolutionary possibilities. (shrink)

Appealing to reason rather than religious belief, this book is the most comprehensive case against the choice of abortion yet published. This updated edition of The Ethics of Abortion critically evaluates all the major grounds for denying fetal personhood, including the views of those who defend not only abortion but also post-birth abortion. It also provides several (non-theological) justifications for the conclusion that all human beings, including those in utero, should be respected as persons. This book also critiques the view (...) that abortion is not wrong even if the human fetus is a person. The Ethics of Abortion examines hard cases for those who are prolife, such as abortion in cases of rape or in order to save the mother's life, as well as hard cases for defenders of abortion, such as sex selection abortion and the rationale for being "personally opposed" but publically supportive of abortion. It concludes with a discussion of whether artificial wombs might end the abortion debate. Answering the arguments of defenders of abortion, this book provides reasoned justification for the view that all intentional abortions are ethically wrong and that doctors and nurses who object to abortion should not be forced to act against their consciences. Updates and Revisions to the Second Edition include: --A response to Alberto Giubilini's and Francesca Minerva's now famous 2012 article, "After-Birth Abortion" in the Journal of Medical Ethics--Responses to new defenses of Judith Jarvis Thomson's violinist argument--The addition of a new chapter on gradualist views of fetal moral worth, including Jeff McMahan's Time-Relative Interest Account--The addition of a new chapter on the conscience protection for health care workers who are opposed to abortion--Responses to many critiques of the first edition, including those made by Donald Marquis, David DeGrazia, and William E. May. (shrink)

I apply African moral precepts to the topic of ‘superlongevity’. I make the case that African theories give rise to three specific sorts of moral concern about life extension that are distinct from similar objections in Western literature: first, superlongevity presents a challenge to identity; second, significantly longer lives face increased challenges to their meaningfulness; third, life extension may be socially divisive, undermining key tenets of sharing a way of life and communing harmoniously with others. Although these distinctive concerns are (...) significant, I claim that their strength as objections to superlongevity depends heavily on the distribution of life extension technologies. Moreover, since African theories typically hold that moral excellence correlates with increasing age, they provide a prudential and moral incentive to live longer to develop personhood. (shrink)

Quentin Skinner has enduringly insisted that a past text cannot be ‘understood’ without the reader knowing something about its historical and linguistic context. But since the 1970s he has been attacked on this central point of all his work by authors maintaining that the text itself is the fundamental guide to the author’s intention, and that a separate study of the context cannot tell the historian anything that the text itself could not. Mark Bevir has spent much of the last (...) 20 years repeating a similar counter-argument. Although ‘study the linguistic context’ might be a useful heuristic maxim, Bevir says, it does not express a necessary or sufficient condition for understanding. But Skinner is right, and one of the figures he has consistently identified as a formative inspiration, R. G. Collingwood, has already (in his work of the 1930s) shown why. What Collingwood calls his ‘logic of question and answer’ explains why the historian cannot answer his characteristic ‘intention’ question about past texts without knowing the context of problems to which authors think they are offering solutions. The study of context is neither ‘prior’ (as Bevir incorrectly supposes) nor ‘separate’ (as Skinner inaccurately says), but it is, as Skinner maintains, nevertheless impossible to grasp an author’s intention without it. This ‘logic of question and answer’ also explains why, in history, dismissing the study of context is in fact a pre-judgement of evidence yet unseen. (shrink)

How can thinking be effective in enabling us to meet our goals? If we answer this in terms of representation relations between thoughts and the world, then we are challenged to explain what representation is, which no one has been able to do. If we drop the appeal to representation, then it is hard to explain why certain inferences are good and others are not. This paper outlines a strategy for a nonrepresentationalist account of the way in which the structure (...) of reality may drive cognition. It begins by restricting our attention to certain paradigm cases of linguistically-mediated cooperative exchange. Second, it introduces a kind of nonconceptual thinking -- thinking in mental images. Third, in terms of imagistic cognition, the nonnormative conditions under which sentences are asserted and accepted is explained. Fourth, in terms of these conditions, the possibility of successful linguistic exchange in the paradigm cases is to be explained. Fifth, the strategy calls for an explanation how a language can be internalized and become a medium of intrapersonal thought. Finally, the norms of discourse can be conceived as norms that supervise the processes of linguistic exchange so explained. In this paper only the first three steps of the overall strategy will be carried out in any detail. But a strategy for completing the last three steps will be sketched. (shrink)