This is a reproduction of a book published before 1923. This book may have occasional imperfectionssuch as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed worksworldwide. We appreciate your understanding of the imperfections in the (...) preservation process, and hope you enjoy this valuable book.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Naturwissenschaftliche Plaudereien 3 Emil Arnold Budde. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...) approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

If you are interested in art, you engage in artistic evaluation, thinking of one work as being better than another; one artist as being better than another; some works and some artists as being great, mediocre, or poor; and, perhaps, thinking of some forms or genres of art as being superior to others in that works within the favored form or genre have achieved or can aspire to a higher artistic value than is possible for those less favored. The greatest (...) philosophical challenge to this practice—a challenge that, if successful, would have wide-ranging consequences outside philosophy, in particular in undermining the status of the practice of art criticism—would maintain that it is, all of it, taken at face value.. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These include: (...) how the aesthetic appreciation of nature should be understood; the character of an aesthetic response to nature; what kinds of aesthetic experience nature affords and what kinds of aesthetic judgement it is amenable to; the aesthetic significance of intrusions by humanity into nature; whether aesthetic judgements about nature can be objectively true; the doctrine of positive aesthetics with respect to nature; the aesthetic significance of knowledge of nature and in particular whether scientific knowledge is necessary for serious aesthetic appreciation of nature; and the correct model for the appropriate aesthetic appreciation of nature. -/- The Aesthetic Appreciation of Nature also includes a comprehensive exposition and examination of the thoughts of the greatest philosopher to make a substantial contribution to the subject, Immanuel Kant, and an encyclopaedic critical survey of much of the most significant recent literature. Scholars and students of aesthetics will find valuable resources here, and much to think about. (shrink)

First published in 1989, this book tackles a relatively little-explored area of Wittgenstein’s work, his philosophy of psychology, which played an important part in his late philosophy. Writing with clarity and insight, Budd traces the complexities of Wittgenstein’s thought, and provides a detailed picture of his views on psychological concepts. A useful guide to the writings of Wittgenstein, the book will be of value to anyone concerned with his work as a whole, as well as those with a more general (...) interest in the philosophy of psychology. (shrink)

The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non- aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the possibility (...) of deriving knowledge from a non- aesthetic description. If this were to be a real possibility, it would certainly disprove the Acquaintance Principle, but its impossibility would not establish it. Furthermore, if the way knowledge were to be derived from a non- aesthetic description were through its enabling a person to imagine the object, a defender of the Acquaintance Principle might simply deem imagining to be a form of first-hand experience. I focus on the possibility of acquiring aesthetic knowledge through reliable testimony because here there is a style of argument that, if correct, would rule out the possibility of knowledge of an item's aesthetic properties being transmitted to someone who lacks the requisite first-hand experience, and the manoeuvre of including imagining under the head of first-hand experience is not available. An argument of this kind is, I believe, the only possible way of establishing the Acquaintance Principle. I try to show that this style of argument fails and that the Acquaintance Principle should be rejected. (shrink)

This article will investigate Rawls's claim that his theory is Kantian in origin. In drawing on the Lectures on the History of Moral Philosophy, I will show that Rawls's claim to be Kantian cannot be conclusively explained and assessed without the Lectures. An investigation of the Lectures shows that Rawls forces onto Kant's theory a Rawlsian interpretation which crucially alters Kant's theory. So far the secondary literature has neglected to subject Rawls's Lectures to detailed philosophical scrutiny. This article aims to (...) fill this gap in the literature on Rawls's Kantianism. I will identify three points in Rawls's interpretation of Kant (need for CI-procedure, willing condition, true human needs) which are questionable. I argue that the similarities of Rawls's theory to Kant are due to these (mis)interpretations, which makes Rawls's claim to be Kantian ultimately not legitimate. (shrink)

While universalist theories have come under increasing attack from relativist and post-modern critics, such as Walzer, MacIntyre and Rorty, Kantian constructivism can be seen as a saviour of universalist ethics. Kantian constructivists accept the criticism that past universalist theories were foundational and philosophically comprehensive and thus contestable, but dispute that universalist principles are unattainable. The question then arises if Kantian constructivism can deliver a non-foundational justification of universal principles. Rawls, the first Kantian constructivist, has seemingly retreated from the universalist ambitions (...) of Kantian constructivism. However, others have taken up the project of Kantian constructivism. One of them is O’Neill, who argues that she can succeed where Rawls failed and provide a truly universal non-foundational constructivism. Her requirements for such a constructivism are a constructive justification of the procedure of construction and the use of only abstract, non-ideal starting points. I will argue that O’Neill fails on both accounts. Instead of justifying the principle of practical reason constructively she gives an instrumental and therefore conditional justification. Instead of relying on purely abstract starting points her account builds on an underlying value assumption. This indicates inherent contradictions within constructivism, and might force defenders of universalism to look elsewhere to answer the relativist and post-modern critic. (shrink)

M. J. Budd; XI—Materialism and Immaterialism, Proceedings of the Aristotelian Society, Volume 70, Issue 1, 1 June 1970, Pages 197–220, https://doi.org/10.1093/a.

Auth: University College London, Distributed by Viking.

We show how to formalize approximate counting via hash functions in subsystems of bounded arithmetic, using variants of the weak pigeonhole principle. We discuss several applications, including a proof of the tournament principle, and an improvement on the known relationship of the collapse of the bounded arithmetic hierarchy to the collapse of the polynomial-time hierarchy.

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)

1. Fichtes idealismus und die geschichte. Rechtsphilosophie. Hegel in seinem verhältnis zur weltanschaung der aufklärung. Gibt es einen "Primat der praktischen vernunft" in der logik?--2. Die logik der philosophie und die kategorienlehre. Die lehre vom urteil.--3. Platon. Zum system der logik. Zum system der wissenschaften.

It has been argued that Hume's denial of infinite divisibility entails the falsity of most of the familiar theorems of Euclidean geometry, including the Pythagorean theorem and the bisection theorem. I argue that Hume's thesis that there are indivisibles is not incompatible with the Pythagorean theorem and other central theorems of Euclidean geometry, but only with those theorems that deal with matters of minuteness. The key to understanding Hume's view of geometry is the distinction he draws between a precise and (...) an imprecise standard of equality in extension. Hume's project is different from the attempt made by Berkeley in some of his later writings to save Euclidean geometry. Unlike Berkeley, who interprets the theorems of Euclidean geometry as false albeit useful approximations of geometrical facts, Hume is able to save most of the central theorems as true. (shrink)

It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.

Crises and shortcomings of various sorts have prompted calls, especially from powerful corporate elites and organizations, for greater managerial expertise and training within the churches. This article examines a few select examples of growing reliance upon managerial techniques in church life and practice in recent years as a prelude to considering whether more areas of pastoral organization should be transformed by ideologies and techniques derived from for-profit corporations. Using examples drawn primarily from contemporary Catholicism in the United States, this article (...) aims to contribute to ecumenical discussions in ecclesiology, ethics and economics. (shrink)

All aesthetic judgements, whether descriptive, evaluative or some combination of the two, and whatever they might be about, whether works of art, artefacts of other kinds, or natural things, declare themselves to be, not mere announcements or expressions of personal responses to the objects of judgement, but claims meriting the agreement of others. Despite the frequent appeal in everyday life to the nihilistic interpretation of the saying ‘It's all a matter of taste’, the doctrine of aesthetic nihilism—the view that such (...) claims are never warranted—does not merit serious attention. What is needed is an articulation of the various kinds of content of aesthetic judgements, one that will reveal what their claim to intersubjective validity amounts to and enable an assessment of what the proper limits of the claim might be. This clarification is what I attempt to provide. After some introductory definitions and classifications, the principal focus of the first part of the paper is descriptive aesthetic judgements, and one issue that figures large is the proper understanding of those judgements of this kind which are expressed in sentences that are intended to be understood metaphorically. A short bridge passage identifies an aesthetic judgement whose content is indicative of the content of evaluative aesthetic judgements of all kinds, and in particular evaluative aesthetic judgements about works of art, which the second part of the paper focuses on. Real illumination of these requires an identification of the aim of art (as such): I offer an account of this aim, which I defend against certain objections that it is liable to attract, and I use it to throw light not just on singular but also on comparative judgements of artistic value. I conclude with some remarks about purely aesthetic value and specifically artistic value and about similarities and differences between evaluative aesthetic judgements of works of art and evaluative aesthetic judgements of works of nature. (shrink)

Roger Scruton's extraordinarily rich and impressive book The Aesthetics of Music has not received the attention it deserves. In this paper I take issue with one of its most striking claims, namely that the basic perceptions of music are informed by spatial concepts understood metaphorically. To evaluate this claim it is necessary to grasp Scruton's theory of metaphor, which has largely been neglected. I sketch his theory and derive from it the essence of his claim about the fundamental role of (...) spatial metaphors in musical experience. With the issue clarified in this way, I attempt to show that the claim is not plausible. (shrink)

The principal focus of the essay is the idea of artistic value, understood as the value of a work of art as the work of art it is, and the essay explores the connections, if any, between artistic value and a variety of other values in human life. I start with a series of observations about social values and then turn to moral values. Beginning from Goethe’s claim that ‘music cannot affect morality, nor can the other arts, and it would (...) be wrong to expect them to do so’, I proceed from music through the other arts; I distinguish different conceptions of morality; I highlight what I call a work of art’s positive moral value ; and distinguish three kinds of moral improvement, one taking pride of place. My conclusion is that the positive moral value of works of art has been greatly overrated. I then return to the social values of art, looking at the situation from a very different point of view and reaching new conclusions, some of them positive. I end by explaining why my observations and arguments about the positive moral value of a work of art in no way diminishes the importance of art in human life, the true end of art having an importance in human life not guaranteed by morality. (shrink)

We investigate the provability of some properties of abelian groups and quadratic residues in variants of bounded arithmetic. Specifically, we show that the structure theorem for finite abelian groups is provable in S22 + iWPHP, and use it to derive Fermat's little theorem and Euler's criterion for the Legendre symbol in S22 + iWPHP extended by the pigeonhole principle PHP. We prove the quadratic reciprocity theorem in the arithmetic theories T20 + Count2 and I Δ0 + Count2 with modulo-2 counting (...) principles. (shrink)

I begin by demonstrating the inadequacy of the idea that the aesthetic appreciation of nature should be understood as the appreciation of nature as if it were art. This leads to a consideration of three theses: from the aesthetic point of view natural items should be appreciated under concepts of the natural things or phenomena they are, what aesthetic properties a natural item really possesses is determined by the right categories of nature to experience the item as falling under, and (...) the natural world untouched by humanity is essentially aesthetically good. I indicate an unclarity in and identify difficulties facing . I distinguish various versions of , reject certain of these, and fault a number of arguments in support of . I conclude that the idea of the aesthetic value of a natural item is such that it endows the aesthetic appreciation of nature with a freedom and relativity denied to the appreciation of art and renders problematic. (shrink)

The paper provides a philosophical insight into the contemporary critical trends in the university life, and an outline of possible solutions based on the historical overview of an idea of university. The particular section is devoted to the depiction of situation in Slovakia. The author suggests that the creative reconstruction of academic practices is the key to the future of university.

Introduction -- Aesthetic judgements, aesthetic principles, and aesthetic properties -- Aesthetic essence -- The acquaintance principle -- The intersubjective validity of aesthetic judgements -- The pure judgement of taste as an aesthetic reflective judgement -- Understanding music -- The characterization of aesthetic qualities by essential metaphors and quasi-metaphors -- Musical movement and aesthetic metaphors -- Aesthetic realism and emotional qualities of music -- On looking at a picture -- The look of a picture -- Wollheim on correspondence, projective properties, and (...) expressive perception -- Wittgenstein on aesthetics. (shrink)

The principal aim of Eddy Zemach’s book is to articulate and demonstrate the correctness of a realistic understanding of aesthetic sentences, sentences the surface grammar of which consists in the attribution of an aesthetic property to an item. Zemach is content to represent realism in aesthetics as the view that aesthetic sentences have genuine truth values, describe or misdescribe matters of fact, are objectively true or false depending on whether they correspond to reality, are true if and only if the (...) aesthetic properties they ascribe to things really characterize those things. He is aware that this characterization of realism will not be thought adequate on a minimalist theory of truth, but dismisses the view of those who, like Paul Horwich, advocate a deflationary theory of truth, asserting that this records a special nonrealistic sense of truth. But the difference between a realist and a nonrealist sense of truth is left unexplained. (shrink)

Does normothermic regional perfusion (NRP) resurrect the dead? That was the question I asked in one of the target articles published in the special issue of The American Journal of Bioethics (AJOB)...