_Hume's Naturalism_ provides a clear and concise guide to the debates over whether Hume's empiricism or his 'naturalism' in the tradition of the Scottish 'Common Sense' school of philosophy gained his upper hand. This debate is central to any understanding of Hume's thought. H.O. Mounce presents a beautifully clear guide to Hume's most important works, _The Treatise on Human Nature_ and _Dialogues Concerning Natural Religion_. Accessible to anyone coming to Hume for the first time, _Hume's Naturalism_ affords a much needed (...) overview of the key concepts of empiricism, causation, scepticism, reason and morality that are essential to any understanding of Hume's philosophy. (shrink)

CHAPTER I POLITICAL FAITH AND UTOPIAN THOUGHT In the three and a half centuries since Bacon and the miller prayed for peace among the willows, countless men ...

The paper sketches an ontological solution to an epistemological problem in the philosophy of science. Taking the work of Hilary Kornblith and Brian Ellis as a point of departure, it presents a realist solution to the Humean problem of induction, which is based on a scientific essentialist interpretation of the principle of the uniformity of nature. More specifically, it is argued that use of inductive inference in science is rationally justified because of the existence of real, natural kinds of things, (...) which are characterized as such by the essential properties which all members of a kind necessarily possess in common. The proposed response to inductive scepticism combines the insights of epistemic naturalism with a metaphysical outlook that is due to s cientific realism. (shrink)

This book shows how the traditional concerns of political theory push it increasingly into the study of international relations. This is done, first, by demonstrating how many of the issues usually dealt with by political theory, such as democracy and justice, arise within an increasingly global context and, secondly, by considering how international issues, such as colonialism and war, are best illuminated by building on the work of political theorists. The book suggests that political theory and international relations theory can (...) now both be successfully engaged in as a joint enterprise only. (shrink)

We develop a logical modelling approach to describe evolvable computational systems. In this account, evolvable systems are built hierarchically from components where each component may have an associated supervisory process. The supervisor's purpose is to monitor and possibly change its associated component. Evolutionary change may be determined purely internally from observations made by the supervisor or may be in response to external change. Supervisory processes may be present at any level in the component hierarchy allowing us to use evolutionary behaviour (...) as an integral part of system design. We model such systems in a revision-based first-order logical framework in which supervisors are modelled as theories which are at a logical meta-level to the theories of their components. This enables evolutionary change of the component to be induced by revision-based changes of the supervisor at the meta-level. In this way, the intervention required in evolutionary change is modelled purely logically. The hierarchical component-based structure is fairly intricate so we present the basic ideas firstly in a simple setting, the well-known blocks world, before introducing tree-based structures to represent component hierarchies. We also introduce some techniques for establishing the behaviour of evolvable systems specified in this logical framework. The ideas and concepts are driven by example throughout. We conclude with a more substantial example, that of a simple model of an evolvable system of automated bank teller machines. (shrink)

It was probably Rousseau who first thought of dreams as ennobling experiences. Anyone who has ever read Reveries du Promeneur Solitaire must be struck by the dreamlike quality of Rousseau's meditations. This dreamlike quality is still with us, and those who experience it find themselves ennobled by it. Witness Martin Luther King's famous "1 have a dream. " Dreaming and inspiration raise the artist to the top rung in the ladder ofhuman relations. That is probably the prevailing view among educated (...) people of our time. Rousseau made that view respectable and predominant. Yet in another sense, the problem is much older. It is the problem of political philosophy and poetry, the problem of Socrates and Aristophanes, of Plato and Homer. Yet, while antiquity usually gives the crown to philosophy, since Rous seau, the alternative view tends to prevail. The distinction is not, however, a formal one. Sir Philip Sidney enlisted Plato on the side of poetry. The true distinction is between imagination and reason. If reason is to rule, as Aristotle points out,l the most architectonic of the sciences, that is political science, should rule. It is political philosophy which must determine the nature of the arts which will help or which will hinder the good of the city or the polity. That does not mean that a mere professor should stand in judgment of Shake speare, Bacon, and Rembrandt. It means that ifhe studies these three great artists, he is not over-stepping disciplinary limits. (shrink)

Some comments on descriptive and normative aspects of Kuhn's account of science.

Cranial measurements and somatotype indices were compared in two groups of patients, one with recurrent depressive illness and the other suffering from a first solitary attack of depression. Certain statistically significant differences in stature, somatotype and cranial measurements emerged; the group with recurrent episodes of depression tended to be shorter and more brachycephalic than those with solitary episodes of depression.

This is an introductory level discussion of the topic of objectivity and relativism in science. A distinction is made between kinds of objectivity. The topic is then explored within the context of the theory of method.

Thomas Kuhn’s book, The Structure of Scientific Revolutions, is a classic text in the history and philosophy of science. It is one of the best known works in the field outside this area of academic specialization. One need only mention the term ‘paradigm’ to register the extent to which Kuhn’s ideas have entered the vernacular. Traditionally, philosophers of science have tended to focus on questions about the nature of scientific method. Kuhn brought a historical orientation to bear on such questions. (...) Structure opens with the words, ‘History, if viewed as a repository for more than anecdote or chronology could produce a decisive transformation in the image of science by which we are now possessed’ (p.1). Kuhn proposed a model of scientific change that emphasizes historical development. As Kuhn foresaw, reflection on its history has transformed our image of science. Science is now seen as a developing process, practised by humans in a variety of shifting historical and social circumstances. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Barthes and the Lesson of SaenredamHoward Caygill (bio)In his late dialogue Parmenides, Plato seems to be on the point of overturning the main achievement of his philosophy, the doctrine of ideas. The aged Parmenides disquiets the young Socrates by asking if ideas apply not only to abstractions such as the just, the beautiful, and the good, but also to "hair, mud, dirt, or anything else particularly vile and worthless" (...) [131A]. Socrates thinks not, but admits being troubled by a doubt that forces him to retreat "for fear of falling into some abyss of nonsense and perishing." This hint of an obverse Platonism that haunts the doctrine of ideas shares much with the later work of Barthes, which, qualifying a life's work in semiotics, seems to turn away from signs and the inquiry into their conditions of meaning to seek meaning in the smudge and the blemish. In his late essay on Cy Twombly, "The Wisdom of Art" (1979), he explicitly adopts the obverse Platonism that so troubled Socrates as a principle of method: "Ideas (in the Platonic sense) are not shiny, metallic Figures in conceptual corsets, but somewhat shaky maculations, tenuous blemishes on a vague background" [180]. The clear allusion to the parable of the cave in Plato's Republic—with its contrast between the shadows on the wall and the bright light of the ideas—allows Barthes's work to be situated within an obverse, dirty Platonism. He does not abandon the Platonic search for ideas but reorients its direction of inquiry from the realm of light to that of shadow, from the heavens to the cave.The position adopted by Barthes before his death should not be understood as a turn away from a preoccupation with light and the conditions of intelligibility to a sensitivity to the shadows in the nuances of voice, tone, timbre, and texture. Such a development might seem to be confirmed by the shift in Barthes's interests from the immaculate, harshly lit geometrical architectural interiors of the Dutch seventeenth-century artist Saenredam in one of his first essays, "The World as Object" (1953), to the informal works of Cy Twombly during the final years of his life. The church interiors of the former would seem to exemplify the idea as "shiny, metallic figure," while the paintings of the latter are closer to maculation and blemish. Yet the sensitivity to the vague and the indefinable that eludes meaning while remaining one of its conditions of possibility was always present, even and especially in Barthes's response to the mysterious works of Saenredam, which for all their immaculate surface are themselves profoundly marked and blemished.The essay of 1953, contemporary with Writing Degree Zero, inaugurates a number of trajectories that range between a concern with the visual to the conditions of artistic practice under capitalism, even to a reorientation of Platonism. Itself an astonishingly wide-ranging yet focused response to seventeenth-century Dutch painting, the essay begins with a discussion of Saenredam as an exceptional moment in Dutch painting. Yet this moment is itself quickly identified as an inaugural moment of a certain obverse [End Page 38] artistic practice—the evocation of the idea of truth through reduction and negation—that continued through the contemporary avant-garde. Saenredam's art is inaugural in its refusal to participate in the mythology of what would later be identified as a capitalist society and culture. The essay, ostensibly concerned with Dutch painting, is also a reflection on the possibilities of an aesthetics of resistance in a capitalist society and the limits within which avant-garde practice is confined. Barthes's reading of Saenredam and through him Dutch painting is thus programmatic of his readings of the contemporary avant-garde, and beyond this to the Platonic structures which still silently inhabit its aesthetic theory and practice.An Aesthetic of SilenceIn the opening paragraph of "The World as Object," Barthes introduces the work of Saenredam as anticipating "a 'modern' aesthetic of silence," an anticipation that is said to exceed even "the dislocations of our contemporaries" [62]. This chronological dislocation of Saenredam's work—placing it in advance of the contemporary avant-garde—is but one of... (shrink)

The author reflects on the implications of the Kosovo conflict for under-standing the post-Cold War changes in NATO's strategic concept. He develops a theoretical account of the move from war to police violence and the differences between the two concepts of violence.

The influence of Kant's philosophy has been, and continues to be, so profound and so widespread as to have become imperceptible. Philosophical inquiry within both the ‘analytic’ and the ‘continental’ traditions is unthinkable without the lexical and conceptual resources bequeathed by Kant. Even outside philosophy, in the humanities, social sciences and natural sciences, Kantian concepts and structures of argument are ubiquitous. Anyone practicing literary or social criticism is contributing to the Kantian tradition; anyone reflecting on the epistemological implications of their (...) work will find themselves doing so within parameters established by Kant. Indeed, many contemporary debates, whether in aesthetics, literary or political theory, show a peculiar tendency to mutate into disputes in Kant exegesis. All in all, in the less than 200 years since the death of its author, Kantian philosophy has established itself as an indispensable point of intellectual orientation. (shrink)

The author critically examines two tools of temporal orientation available to the historian of philosophy: recovery and reconstruction. The former aims at producing an account of what the text meant at a particular time or to a particular author; the latter aims at orienting the reader to historical works through presently familiar or, At least, Readily accessible conceptual apparatus. (staff).