This work resulted from a conference held in 2003 that was jointly sponsored by the Rockefeller Archive Center and Quinnipiac University. Drawing upon perspectives from history, philosophy, and the social sciences, as well as public health and medicine, the authors in this volume examine and critique the role of Foundations, most prominently the Rockefeller Foundation, in promoting and expanding the development of Western medicine around the world during the 20th century. The first half of the book examines the historical involvement (...) of philanthropic foundations in public heath, basic medical research, and related social and political issues. These studies range from an examination of the Rockefeller's Foundation's anti-malaria campaigns to the involvement of Foundations in promoting eugenic ideology and population control. The second half of the book considers current situations in which philanthropic foundations are active in promoting public health and westernized medicine, including consideration of the fight against AIDS in Africa, the resurgence of tuberculosis as a major public health threat, and the ongoing war against malaria. Finally, the book concludes with thoughts on the future of health, disease, and public health by Peter C. Goldmark, Jr., a former president of the Rockefeller Foundation. By considering issues of public health and health policy from a wide range of perspectives, this book seeks to contribute both to our understanding of the past successes and failures of growing dominance of Westernized medicine over global health, and to consider present and future possibilities for improving the delivery of health services to the population of the world. (shrink)

Formalised knowledge systems, including universities and research institutes, are important for contemporary societies. They are, however, also arguably failing humanity when their impact is measured against the level of progress being made in stimulating the societal changes needed to address challenges like climate change. In this research we used a novel futures-oriented and participatory approach that asked what future envisioned knowledge systems might need to look like and how we might get there. Findings suggest that envisioned future systems will need (...) to be much more collaborative, open, diverse, egalitarian, and able to work with values and systemic issues. They will also need to go beyond producing knowledge about our world to generating wisdom about how to act within it. To get to envisioned systems we will need to rapidly scale methodological innovations, connect innovators, and creatively accelerate learning about working with intractable challenges. We will also need to create new funding schemes, a global knowledge commons, and challenge deeply held assumptions. To genuinely be a creative force in supporting longevity of human and non-human life on our planet, the shift in knowledge systems will probably need to be at the scale of the enlightenment and speed of the scientific and technological revolution accompanying the second World War. This will require bold and strategic action from governments, scientists, civic society and sustained transformational intent. (shrink)

Studies of Y chromosome evolution often emphasize gene loss, but this loss has been counterbalanced by addition of new genes. The DAZ genes, which are critical to human spermatogenesis, were acquired by the Y chromosome in the ancestor of Old World monkeys and apes. We and our colleagues recently sequenced the rhesus macaque Y chromosome, and comparison of this sequence to human and chimpanzee enables us to reconstruct much of the evolutionary history of DAZ. We report that DAZ arrived on (...) the Y chromosome about 38 million years ago via the transposition of at least 1.1 megabases of autosomal DNA. This transposition also brought five additional genes to the Y chromosome, but all five genes were subsequently lost through mutation or deletion. As the only surviving gene, DAZ experienced extensive restructuring, including intragenic amplification and gene duplication, and has been the target of positive selection in the chimpanzee lineage.Editor's suggested further reading in BioEssays Should Y stay or should Y go: The evolution of non‐recombining sex chromosomes Abstract. (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)

Formalised knowledge systems, including universities and research institutes, are important for contemporary societies. They are, however, also arguably failing humanity when their impact is measured against the level of progress being made in stimulating the societal changes needed to address challenges like climate change. In this research we used a novel futures-oriented and participatory approach that asked what future envisioned knowledge systems might need to look like and how we might get there. Findings suggest that envisioned future systems will need (...) to be much more collaborative, open, diverse, egalitarian, and able to work with values and systemic issues. They will also need to go beyond producing knowledge about our world to generating wisdom about how to act within it. To get to envisioned systems we will need to rapidly scale methodological innovations, connect innovators, and creatively accelerate learning about working with intractable challenges. We will also need to create new funding schemes, a global knowledge commons, and challenge deeply held assumptions. To genuinely be a creative force in supporting longevity of human and non-human life on our planet, the shift in knowledge systems will probably need to be at the scale of the enlightenment and speed of the scientific and technological revolution accompanying the second World War. This will require bold and strategic action from governments, scientists, civic society and sustained transformational intent. (shrink)

The years from 1918 to 1945 remain central to European History. It was a breath-taking time during which the very best and very worst attributes of Mankind were on display. In the euphoria of peace which followed the end of the First World War, the Baltic States emerged as independent forces on the world stage, participating in thrilling experiments in national and transnational governance. Later, following economic collapse and in the face of rising totalitarianism among even Europe’s most cultured nations, (...) Baltic communities succumbed to nationalism too. During wartime, Baltic peoples became both victims and, sometimes, victimisers. Ultimately their victimhood lasted until the end of the Cold War, yielding consequences still discernible at the start of the twenty first century. Taking the period 1918 to 1945 as pivotal, this collection of essays examines some of the key themes in Baltic History as they are emerging today. These include appreciations of identity, autonomy and the rights of national minorities; the everyday and social foundations of international security; and the importance of historical memory to popular and political identities. (shrink)

Constellations, Volume 28, Issue 3, Page 450-452, September 2021.

Abstract Gene-selectionists define fundamental terms in non-standard ways. Genes are determinants of difference. Phenotypes are defined as a gene’s effects relative to some alternative whereas the environment is defined as all parts of the world that are shared by the alternatives being compared. Environments choose among phenotypes and thereby choose among genes. By this process, successful gene sequences become stores of information about what works in the environment. The strategic gene is defined as a set of gene tokens that combines (...) ‘actor’ tokens responsible for an effect with ‘recipient’ tokens whose replication is thereby enhanced. This set of tokens can extend across the boundaries of individual organisms, or other levels of selection, as these are traditionally defined. Content Type Journal Article Pages 1-19 DOI 10.1007/s10539-012-9315-5 Authors David Haig, Department of Organismic and Evolutionary Biology, Harvard University, 26 Oxford Street, Cambridge, MA 02138, USA Journal Biology and Philosophy Online ISSN 1572-8404 Print ISSN 0169-3867. (shrink)

Angelaki, Volume 16, Issue 2, Page 175-180, June 2011.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and (...) was preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

Drawing on recent work on the nature of the numbering system of the _Tractatus_ and Wittgenstein’s use of that system in his composition of the _Prototractatus_, the paper sets out the rationale for the online tool called__ __ The University of Iowa Tractatus Map. The map consists of a website with a front page that links to two separate subway-style maps of the hypertextual numbering system Wittgenstein used in his _Tractatus_. One map displays the structure of the published _Tractatus_; (...) the other lays out the structure of the _Prototractatus_. The site makes available the full text of the German and the two canonical English translations.__ __While we envisage the map as a tool that we would like a wide variety of readers to find helpful, we argue that our website amounts to a radically new edition of Wittgenstein’s early masterpiece, with far-reaching implications for the interpretation of that text. In particular, we claim that our visually compelling presentation of the book’s overall structure delivers on Wittgenstein’s cryptic claim in a letter to his publisher that it is the numbers that “make the book surveyable and clear”. (shrink)

David Spurrett, David Papineau; A note on the completeness of ‘physics’, Analysis, Volume 59, Issue 1, 1 January 1999, Pages 25–29, https://doi.org/10.1093/anal.

The transcripts of the three Kyoto School roundtable discussions of the theme of 'The standpoint of world history and Japan' may now be judged to form the key source text of responsible Pacific War revisionism. Published in the pages of Chuo Koron, the influential magazine of enlightened elite Japanese opinion during the twelve months after Pearl Harbor, these subversive discussions involved four of the finest minds of the second generation of the Kyoto School of philosophy. Tainted by controversy and shrouded (...) in conspiratorial mystery, these transcripts were never republished in Japan after the war, and they have never been translated into English except in selective and often highly biased form. David Williams has now produced the first objective, balanced and close interpretative reading of these three discussions in their entirety since 1943. This version of the wartime Kyoto School transcripts is neither a translation nor a paraphrase but a fuller rendering in reader-friendly English that is convincingly faithful to the spirit of the original texts. The result is a masterpiece of interpretation and inter-cultural understanding between the Confucian East and the liberal West. Seventy years after Tojo came to power, these documents of the Japanese resistance to his wartime government and policies exercise a unique claim on students of Japanese history and thought today because of their unrivalled revelatory potential within the vast literature on the Pacific War. The Philosophy of Japanese Wartime Resistance may therefore stand as the most trenchant analysis of the political, philosophic and legal foundations of the place of the Pacific War in modern Japanese history yet to appear in any language. (shrink)

In this paper I examine important texts by Jacques Derrida in which, either implicitly or explicitly, the Shoah, the catastrophe of the Holocaust is signified, interrupting, disrupting, even disfiguring the texture of the text. The question is how appropriately to remember and mourn the dead within philosophical discourse, how to remember what happened and how to understand it as a question not only of ethical and political responsibility but also as an evil deeply and pervasively reflected in the ontology and (...) epistemology of the philosophical tradition—an evil circulating within the very substance of philosophical thought, and in such a way that Derrida will make this philosophical complicity in the violence and evil of the Holocaust register its painfully oppressive guilt in textual configurations haunted by the presence of the victims, remembered in traces of their absence. Thus we see how Derrida lets the question of an appropriate form of historical memory, a fitting way to remember the Shoah, invade his texts—how he lets the texts of his thought be exposed to its radical evil and exposed to the pain of an impossible mourning. We also see how the deconstruction of the metaphysics of presence implies a contestation of historicism, a writing of history that betrays the past in the very process of making it present. (shrink)

How are we to understand the multiple overlapping crises of the present? In a superbly enlightening synthesis of Marxian (critique of) political economy and systems theory, Robert Biel presents a compelling case for the importance of an entropic perspective, regarding both thermodynamic and informational flows that constitute and transform social systems. This perspective offers an insightful analysis of neoliberalism as an attempt to harness the entropic benefits of spontaneous and complex emergence for the purposes of capitalist accumulation. The current crises (...) may thus be understood as the overflowing of the resulting complexity and the pathological response of neoliberal powers, further accelerating this process. But is capitalism itself thus exhausted? An alternative scenario of rejuvenated capitalism is outlined, together with the implications of Biel’s analysis for critical realism, critical social theory and a politics of the Left. Content Type Journal Article Category Review Essay Pages 112-128 Authors David Tyfield, Lancaster University Journal Journal of Critical Realism Online ISSN 1572-5138 Print ISSN 1476-7430 Journal Volume Volume 12 Journal Issue Volume 12, Number 1 / 2013. (shrink)

David Lyons; VII*—The Internal Morality of Law, Proceedings of the Aristotelian Society, Volume 71, Issue 1, 1 June 1971, Pages 105–120, https://doi.org/10.1093.

David Pole; VII—On Practical Reason and Benevolence, Proceedings of the Aristotelian Society, Volume 68, Issue 1, 1 June 1968, Pages 129–144, https://doi.org/10.

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 112-125 [Access article in PDF] You Make My Heart Sing David Rothenberg Last March I went to Pittsburgh to play music live with birds. The plan was to arrive at dawn, to catch the wary singers at their best—in the early morning chorus, when the most sound was happening. I met my friend Michael Pestel at the gates of the National Aviary, (...) a mostly forgotten federal institution in a rundown neighborhood. I had never heard of the aviary before Pestel told me what a great place it was to jam with the more-than-human world. The staff was rumored to be friendly, and they liked to let musicians in during the early hours before the public, mostly guided schoolchildren, would storm the gates.Pestel was there with his flute and various homemade stringed instruments. I had clarinets and saxophones, coaxed out of their cases, a bit tired from the long ride, but ready to hear what these birds had up their sleeves. We headed for the marsh room, a vaulted expanse with an observation deck and waterbirds from all over the world. I strained my ears to catch some pretty rocking bird beats, but they sounded familiar. Too familiar—the aviary was blaring Marvin Gaye at top volume to these birds at six o'clock in the morning. They were definitely squawkin' and squealin'."I cannot work in these conditions," muttered Pestel. "We've got to get these people to turn that racket down.""Didn't you warn them we were coming?""No," he shook his head. "You can't do that. Art always arrives without warning." [End Page 112]"You sure they'll let us do this?""No problem, man, I've come here many times before. These people know me. These birds know me."Marvin was turned down. The sprinklers were turned down (rain must start in the rainforest room every day before sunrise). How else to keep the gaudy barbets happy? Does a blue-crowned motmot (Momotus momota) or a violaceous euphonia (Euphonia violacea) really want to hear strange instrumental shrieks before breakfast? Weren't they content with "What's Going On?"Athanasius Kircher 1 knew the birds were onto something even in 1650:And then Wittgenstein had the nerve to warn us that if a lion could talk, we would not understand him. 2 When a lion roars, we do understand him (or her). If a cat purrs, we understand her, too. If the voice of an animal is not heard as message but as art, interesting things start to happen: Nature is no longer inscrutable, some alien puzzle, but instead immediately something beautiful, a source of exuberant song, a tune with some space for us to enter, at once a creative place for humanity to join in.We set up on the wooden deck, listening out over the water. Instruments out of their cases, recording equipment wired and set to go. An American crow (Corvus brachyrhynchos) was in the center of the action, sitting on a branch at the side of the room. He cocked his head, eyed us knowingly. Looking like there was something he wanted to say. [End Page 113]Pestel played a long, low sliding note, followed by a scratchy puff of air. Something strange swooped down next to my feet, shuffled its large black wings. Some kind of ungainly turkey... I read from a plaque on the railing that it was a Palawan peacock pheasant (Polyplectron emphanum). Its quizzical gaze was mute."What are you looking at?" I glared. He stepped cautiously toward the microphone cable, ready to gobble it in his hooked, formidable beak."Hey," I brushed him off. "Stop dancing. Sing!" But no, he was the prancing, silent type.All of a sudden there was a strange voice. A human voice? "Who." I heard. "Who. Who what where why. Who what where why."It was the crow. But not just any crow. He spoke."Did you hear that?" I coaxed Pestel up from the flute."Oh," he said. "That's Mickey. He's been here for years.""Does... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 321-323 [Access article in PDF] Frederick J. Streng Book Award David Loy Interview The 1999 winner of the Frederick J. Streng Book Award is David R. Loy, professor on the Faculty of International Studies at Bunkyo University in Chigasaki, Japan. Professor Loy received the award for his book, Lack and Transcendence: The Problem of Death and Life in Psychotherapy, Existentialism, and Buddhism, published (...) by Humanities Press (New Jersey) in 1996. The book places Western patterns of thought developed in tandem with Christian ideas into dialogic contact with Buddhism. It is thus a very Buddhist book, but a signal contribution to the practice of Buddhist-Christian dialogue. Buddhist-Christian Studies asked David about his writing of the volume.Buddhist-Christian Studies: Why did you write this book?David Loy: It was the product of an existential crisis, both intellectual and personal. My father, who had always been healthy and full of life, suddenly became ill with pancreatic cancer. Then my Zen teacher Yamada Koun had a bad fall that led to his death a year later. Not long before that my relationship with him and the Sanbo Kyodan had become somewhat problematic. This threatened my 'spiritual ground'. Finally, I was without a job. All this gave me plenty of time not only to sit intensively but also to read widely everything I could find on death and related issues.Did you think that sitting and studying would lead to a book?I didn't know. I could feel something gestating. I realized something was needed in this area. I was (and still am) very impressed by the last two books of Ernest Becker, but despite their brilliance his notion of death-denial is a little off-center from a Buddhist perspective. Fear of death projects our problem into the future, while the groundlessness of our sense-of-self accounts better for our sense-of-lack right here and now.What was the final trigger for doing the book?Another Zen teacher suggested that I try to write a Zen teisho [sermon or talk]. I sat down but after a few lines so many other thoughts began to bubble up that I couldn't write them down fast enough. There was no obvious or immediate logical connection among them, but they kept coming. This went on for about two, almost non-stop, days. After that the thoughts slowed down. I read over the notes I'd written, which led to more ideas, and then I began to perceive their relationship. After five days or so I had a detailed outline for the book, and the real work began. [End Page 321]What kind of response to the book, both positive and negative, have you received?There have not been many reviews, but they have generally been positive. It's not an easy book to evaluate: it brings together many different thinkers and traditions in order to address many different issues. In the process it attempts what is almost a grand synthesis of Buddhism, existentialism, and psychotherapy around the notion of our 'sense of lack', which I argue motivates us all. This involves close readings of Freud, Heidegger, Nietzsche, Nagarjuna, and many others. Unfortunately, the print is small and not easy to read, the cover is ugly, and the price is too high. For all these reasons readers have my sympathies! But there are some readers for whom the book really 'clicks'. I'm pleased that it seems to work on the existential as well as the intellectual level, for such people.After several years of reflection, would you write it any differently today?Yes, probably. The first thing I would do is take out the last chapter "Transcendence East and West," which was an afterthought and doesn't really fit in very well. As published, the chapter takes the concept of 'lack' into a new dimension which needs to be worked out much more carefully than I did in the book. It argues that, in place of the usual East-West dichotomy, it is more insightful to view South Asian Indian- influenced cultures as in some ways... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics and Racism:Toward an Embodied Pedagogy of DifferenceDavid A. Granger (bio)IntroductionThe philosopher Ludwig Wittgenstein once remarked that "The human body is the best picture of the human soul."1 There is a basic truth in this assertion that we recognize (I want to say) intuitively: the notion that human beings are parts both mental and physical, that these facets are ultimately interdependent, and that they are in some measure correlated (...) was a commonplace in the intellectual culture of ancient Athens, especially among Socratic thinkers. It can also be found as a central part of the basic ontology and ideals of self-cultivation espoused in much East Asian philosophy. In the West, however, this deep appreciation for the relationship between mind and body appears somewhat sporadically after the Socratics, only to be fervently reasserted as a main plank in the lived philosophy of the early American pragmatists, as when Henry David Thoreau proclaimed that "We are all sculptors and painters, and our material is our own flesh and blood and bones. Any nobleness begins to refine a mean's features, any meanness or sensuality to imbrute them."2I use the word "sporadically" above because it is likewise a basic truism that canonical Western philosophy has a long and storied history of rejecting, ignoring, or degrading the human body—that most formative part of our being and connection to the world and to others. The position of the later, more metaphysical Plato is iconic in this regard, and it effectively set the tone for much Christian theology and the Cartesian philosophy of consciousness. For Plato and his adherents, the longing to escape our embodiedness, conceived as a necessary means to human (or perhaps superhuman) perfection [End Page 69] by achieving a godlike existence, requires effectively divorcing ourselves from the irrational brutes of terra firma. The body is conceived as a static constraint to human flourishing rather than a dynamic enabler. It is more or less an adversary, something that we must endeavor to be freed from or subdue.3 Its base senses and unruly passions deceive us epistemologically, while its inexorable power to situate us in space and time limits our objectivity. In its inevitable pains and infirmities, the body is also a constant reminder of the aging process and of our ultimate mortality. Deeming the body as at best a mere servant of the mind, philosophers typically have portrayed it as a veritable prison of deception, temptation, and suffering. Moreover, it is well-established that such thinking has been particularly pernicious in light of the historical identification of women and other marginalized groups with their variously enfeebled, depraved, or uncivilized bodies.4Against this disquieting backdrop, it is only relatively recently that the human body, and the significance of our existence as embodied beings, has received sustained positive attention by leading lights in Western philosophy and criticism. These luminaries include, among others, "feminist" thinkers like Simone de Beauvoir, Julia Kristeva, Luce Irigaray and, of late, Susan Bordo and Judith Butler (with a nod to Michel Foucault, Pierre Bordeau, and others); pragmatists William James and John Dewey (with a nod to Emerson and Thoreau); phenomenologist Maurice Merleau-Ponty (with a nod to Jean-Paul Sartre); analytic philosopher Ludwig Wittgenstein (with a nod to James); and postmodernist Michel Foucault (with a nod to Friedrich Nietzsche, George Bataille, and the ancient Asian ars erotica tradition5). While these thinkers do not universally praise the body and its active, conscious cultivation for human flourishing (about which more later), they nonetheless acknowledge its necessity for all perception, action, and even thought.6 In short, they all seek to recognize and elucidate the significance—cognitive and affective, discursive and nondiscursive—of our full embodied intelligence.Looking specifically at the architectonics of the body espoused by the trio of Dewey, Foucault, and Wittgenstein, this article uses what philosopher Richard Shusterman terms "analytic somaesthetics" to examine some of the primary embodied dimensions of feeling, perception, action, and thought, particularly through the functioning of habit.7 In doing so, it seeks to expose the way various ideologies of domination (for example, racism, sexism, classism, ableism, heterosexism, ageism, etc.) are covertly (and at times overtly) materialized... (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)

Philosophy &Public Affairs, Volume 52, Issue 4, Page 532-564, Fall 2024.

In lieu of an abstract, here is a brief excerpt of the content:A New Look at the Prime MoverDavid BradshawThe last twenty years have seen a notable shift in scholarly views on the Prime Mover. Once widely dismissed as a relic of Aristotle's early Platonism, the Prime Mover is coming increasingly to be seen as a key—perhaps the key—to Aristotle's mature metaphysics and philosophy of mind. Perhaps the best example of the revisionist view is Jonathan Lear's Aristotle: The Desire to (...) Understand. Lear describes Aristotle's position as a form of "objective idealism." It is idealism because Aristotle believes that the fundamental nature of reality conforms to the mind, rather than vice versa; it is objective because the mind to which reality conforms is not that of any particular thinking being, but the divine mind—that is, in a sense, mind itself. "Objects must conform to knowledge, but that does not in the least reveal them to be constituted by any contribution from us... Since, for Aristotle, there is nothing distinctively human about the mind to which objects are conforming, there is no basis for saying that the essences we contemplate are mere appearances."1 Although it may seem strange to think of Aristotle as an idealist, Lear makes a plausible case for his interpretation based on the relevant texts (primarily De Anima III.4 and Metaphysics XII.6-10), and he successfully integrates it into his treatment of other important themes in Aristotle's philosophy.Attempts such as Lear's to tease out the significance of divine thinking are not the only new development afoot. Whereas Lear seems to accept the traditional view that the Prime Mover is a final but not an efficient cause, others such as Thomas de Koninck and Sarah Broadie have challenged that view.2 They have successfully shown, in my opinion, that Aristotle's position requires [End Page 1] that the Prime Mover be in some fashion an efficient cause. But they have not successfully elucidated the nature of this causality, nor have they explained how it is related to the theme rightly given prominence by Lear, the creative character of divine thought.My purpose here is to bring these two strands together—to use an interpretation of divine thinking much like Lear's to illuminate Aristotle's otherwise vexing and obscure remarks about the Prime Mover's causality. Rather than follow the time-honored route of commenting upon the commentators, I will examine the whole issue afresh, working in roughly the order dictated by Aristotle's text. My hope is to present a comprehensive interpretation of the Prime Mover that is more compelling than any yet offered by either the revisionists or their critics.1. Activity and Actuality in Metaphysics XIIMetaphysics XII.6 begins with a terse argument for the existence of a first unmoved mover. In the course of this argument Aristotle drops some important clues about the nature of the Prime Mover and its relation to the cosmos.The argument runs as follows: (1) Time cannot come into being or pass away, for that would involve the paradox of a moment before time or a moment after time. (2) Given Aristotle's own definition of time as "the number of motion in respect of before and after," or any other definition linking time inseparably to motion, motion also cannot come into being or pass away, and so must be continuous. (3) There must be a mover to cause this continuous motion. (4) The mover cannot merely be something capable of causing the motion, but must actively do so (, 1071b17). (5) Even for the mover to act continually is not sufficient if its substance includes potency or is potency (, 1071b18), for then the mover could possibly not be, and so could not guarantee an eternal motion. (6) Therefore the very substance of the mover must be actuality (, 1071b20). In the next sentence Aristotle goes on to speak as if there might be more than one mover, noting that "these substances must be without matter, for they must be eternal, if anything is eternal" (1071b20-22). After this nothing more is said about the possibility of more than one mover until chapter XII.8.There is an... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Memoriam: Meyer Schapiro (1904–1996)David RosandMeyer Schapiro, University Professor Emeritus at Columbia University, died at home in New York City on Sunday 3 March, at the age of 91. With his death, the worlds of art and learning have lost a legendary figure.“The humanity of art lies in the artist and not simply in what he represents,” Schapiro had declared in his lectures on abstract art. “It is (...) the painter’s constructive activity, his power of impressing a work with feeling and the qualities of thought that gives humanity to art.” Informing his own life and work, these were the values that enabled him to give such expressive voice to so much of the art of the past and of the present, to articulate the passions of eighth-century Northumbrian manuscript illuminators and Romanesque stonecarvers as well as of the most creative painters of our own century. Schapiro’s range as an art historian was universal, for he believed in the universality of art.Meyer Schapiro was born 23 September 1904, in Siauliai, Lithuania, and emigrated to the United States with his family when he was three. He grew up in the Brownsville section of Brooklyn, where he was first exposed to art in evening classes taught by John Sloan at the Hebrew Settlement House. He entered Columbia College in 1920 at the age of 16, having won both Pulitzer and New York State Regents Scholarships, and received his AB in 1924. Five years later he submitted his dissertation for the Ph.D., the first in fine arts and archaeology awarded by Columbia. “The Romanesque Sculpture of Moissac,” parts of which were published in The Art Bulletin of 1931, opened an entirely new critical perspective on Romanesque art; recognizing its creative and expressive imperatives, Schapiro’s study articulated the aesthetic quality of that art as well as situating it historically and culturally with new precision. Supported by a grant from the Carnegie Corporation, he travelled widely in Europe and the Near East in 1926–27, leaving behind a trail of anecdotal legends that continued to be recounted long after by those who met the brilliant young graduate student—including Bernard Berenson, who compared the eloquence of the “very handsome youth” to Solomon himself.Schapiro began his teaching career at Columbia in 1928 as a lecturer and rose through the professorial ranks, becoming full professor in 1952; he was named University Professor in 1965 and became University Professor Emeritus in 1973. Throughout his career, he moved between the university campus on Morningside Heights and his home neighborhood in Greenwich Village. Lecturing as well at the New School for Social Research from 1936 to 1952, he reached the larger community of the New York art world, especially the artists, in the years when New York was becoming the most dynamic center of contemporary art. And he brought the artists uptown; auditing and participating in his classes at Columbia, their presence in his classroom seemed to validate his wisdom. At the other end of Schapiro’s range were the mathematicians, [End Page 547] scientists, and philosophers, in whose worlds he moved with equal confidence and, importantly, enthusiasm.During the ‘30s Schapiro’s was an important voice of moral balance in the cultural debates of the political left. Although he demonstrated with new insight and undogmatic focus the social bases of art, he insisted on recognizing “its own conditions which distinguish it from other activities.” Even as he avidly pursued knowledge—of history, culture, languages—Schapiro remained an artist. He talked about pictures as an artist. His criticism was an act of re-creation, as he lovingly reconstructed decisions made by the painter on the canvas; every stroke demanded attention. Choice was important, that freedom of the individual responding to the world around him and to the challenge of his own creation. In the anonymous art of the early Middle Ages Schapiro discovered the artist, the human maker; he intuited the feeling individual responsible for the invention of such expressive form. Distant art took on life and became accessible through his recognition of and insistence on its humanity.Schapiro’s learning was legendary, and yet, however intimidating it may have... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.2 (2003) 31-41 [Access article in PDF] Threescore and TenFire, Place, and Loss in the West David Strohmaier The only conclusion I have ever reached about trees is that I love all trees, but I am in love with pines. —Aldo Leopold, A Sand County Almanac 1He died protecting his pines. It was spring, 1948, and Aldo Leopold was spending time with his family (...) at their beloved cabin they called "the Shack." Over the years, he had planted close to 30,000 trees and shrubs on the property, trying to resuscitate a tired Wisconsin sand farm into some semblance of ecological health. 2 Leopold was keenly aware of fire's natural role in ecosystems, but sometimes there's more to fire and living with fire than energy flow, nutrient flush, and plant physiology. 3During the Leopolds' stay at the Shack, a neighbor's trash fire, fanned by a west wind, escaped its bounds and threatened to overtake the pines. Alone, along one flank of the fire, Aldo suffered a heart attack and was later found dead, lying on his back in the smoldering grass. 4 For the love of pines.In A Sand County Almanac (accepted for publication just one week before his death), Leopold explores several possible reasons for his bias [End Page 31] towards pines: maybe it's because he planted the pines, or pines are rare where he lives, or pines have a longer life expectancy than other trees, or pines are evergreens, or because his neighbors don't have many pines on their land, or pines are worth more to the lumberman than other species, or pines engender more plant diversity than other species. In the end, he concludes that our plant biases reflect not only vocations but avocations, with a delicate allocation of priority as between industry and indolence. The farmer who would rather hunt grouse than milk cows will not dislike hawthorn, no matter if it does invade his pasture. The coon-hunter will not dislike basswood, and I know of quail hunters who bear no grudge against ragweed, despite their annual bout with hayfever. Our biases are indeed a sensitive index to our affections, our tastes, our loyalties, our generosities, and our manner of wasting weekends. 5Leopold's last act in life—fighting a fire endangering something he valued—testifies to the tension between Leopold's concept of thinking like a mountain and our reality of living in the present, between mountain time and human time. It's doubtful that the landscape around the Shack would have suffered permanent damage even if the fire overran his pines. Some trees would have burned and died, but, eventually, the land would revegetate and more pines could be planted. But for humans who, according to the psalmist, live but "[t]hreescore and ten, or even by reason of strength fourscore," 6 we may never see our pines, or any other part of the landscape, fully healed, assuming it even can be. One tree, or grove of trees, is not necessarily interchangeable with another. Places can be lost and never replaced. This is one reason why philosopher Robert Elliot is so skeptical of ecological restoration. Like a work of art, simply replacing it with the most exacting replica will never fully replace the original, for part of an object's value derives from its history: who painted or sculpted it, when it was crafted, the reason behind its contours and colors. 7 Not only are exact replicas in nature hard to come by (even though our science and technology of restoration is improving), but some values can never be restored.Some things are worth protecting from fire simply because they're important to us—even a part of us—and not necessarily because they're resources on their way to becoming beef, venison, or two-by-fours. What's critical, though, as we struggle to live in a land that burns, is getting clear about how we want that land to look and why. I fear that we... (shrink)

How do we know when what is happening between two people should be called psychoanalysis? What is a psychoanalytic process and how do we know when one is taking place? _Psychoanalysis Comparable and Incomparable_ describes the rationale and ongoing development of a six year programme of highly original meetings conducted by the European Psychoanalytic Federation Working Party on Comparative Clinical Methods. The project comprises over seventy cases discussed by more than five hundred experienced psychoanalysts over the course of sixty workshops. (...) Authored by a group of leading European psychoanalysts, this book explores ways for psychoanalysts using different approaches to learn from each other when they present their work to fellow psychoanalysts, and provides tools for the individual practitioner to examine and improve his or her own approach. As described in detail in its pages, sticking to the task led to some surprising experiences, raising fundamental questions about the way clinical discussion and supervision are conducted in psychoanalysis. Well known by many in the psychoanalytic community and the object of much interest and debate, this project is described by those who have had the closest contact with it and will satisfy a widely held curiosity in psychoanalysts and psychotherapists throughout the world. David Tuckett is winner of the 2007 Sigourney Award. (shrink)