The purpose of this paper is to show peirce's critical attitude toward two basic elements in the positivistic view of human knowledge, sensation and hypothesis. by 'positivism' i mean the nineteenth-century brand, this is the version peirce knew and attacked. the logic of the paper is simple. i state the positivistic position as found in the writings of comte, pearson, mach and poincare. i follow with peirce's criticism in the light of his realistic view of sensation and his belief that (...) hypothesis or abduction is a valid form of inference. (shrink)

In this book, leading Christian political thinkers and practitioners critique the Rawlsian concepts of “justice as fairness” and “public reason” from the perspective of Christian political theory and practice. It provides a new level of analysis from Christian perspectives, including implications for such hot topics as the culture war.

We report the identification of a recurrent, 520-kb 16p12.1 microdeletion associated with childhood developmental delay. The microdeletion was detected in 20 of 11,873 cases compared with 2 of 8,540 controls and replicated in a second series of 22 of 9,254 cases compared with 6 of 6,299 controls. Most deletions were inherited, with carrier parents likely to manifest neuropsychiatric phenotypes compared to non-carrier parents. Probands were more likely to carry an additional large copy-number variant when compared to matched controls. The clinical (...) features of individuals with two mutations were distinct from and/or more severe than those of individuals carrying only the co-occurring mutation. Our data support a two-hit model in which the 16p12.1 microdeletion both predisposes to neuropsychiatric phenotypes as a single event and exacerbates neurodevelopmental phenotypes in association with other large deletions or duplications. Analysis of other microdeletions with variable expressivity indicates that this two-hit model might be more generally applicable to neuropsychiatric disease. © 2010 Nature America, Inc. All rights reserved. (shrink)

ABSTRACT The militarization of Alaska during and after World War II created an extraordinary set of new facilities. But it also reshaped the imaginative role of Alaska as a hostile environment, where an antagonistic form of nature could be defeated with the appropriate combination of technology and training. One of the crucial sites for this reformulation was the Arctic Aeromedical Laboratory, based at Ladd Air Force Base in Fairbanks. In the first two decades of the Cold War, its employees (...) conducted numerous experiments on acclimatization and survival. The laboratory is now best known for an infamous set of tests involving the application of radioactive tracers to indigenous Alaskans—experiments publicized by post–Cold War panels established to evaluate the tragic history of atomic-era human subject research. But little else has been written about the laboratory's relationship with the populations and landscapes that it targeted for study. This essay presents the laboratory as critical to Alaska's history and the history of the Cold War sciences. A consideration of the laboratory's various projects also reveals a consistent fascination with race. Alaskan Natives were enrolled in experiments because their bodies were understood to hold clues to the mysteries of northern nature. A scientific solution would aid American military campaigns not only in Alaska, but in cold climates everywhere. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value (...) is broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

This essay argues the image of the ‘Mystical Body’ or ‘Body of Christ’ is fully intelligible only in light of the Cross. The Body of Christ is a cruciform Body. As the Body of Christ crucified and risen, it is presently being configured to Christ in the world through self-sacrificial love. The essay traces the place of the Cross in some representative twentieth-century Catholic theologies of the Mystical Body, in light of the perspective of Thomas Aquinas. I first survey four (...) theologians from the first half of the century who, in their understandings of the Mystical Body, gave a place to the Cross: Emile Mersch, Fulton Sheen, Charles Journet, and Pius Pasch. Here I also examine Pope Pius XII's encyclical Mystici Corporis. Second, I explore the approach of some notable Thomistic theologians or interpreters of Aquinas from the early 1960s onward: Jerome Hamer, M. J. Le Guillou, George Sabra, Jean-Pierre Torrell, and Herwi Rikhof. In this section, I also examine Vatican II's Lumen Gentium. My third and final section treats Aquinas himself, in order to reflect upon the place of the Cross in his understanding of the Mystical Body, as found in his biblical commentaries and the Summa theologiae. (shrink)

This essay proposes a new theory of agentive modals: ability modals and their duals, compulsion modals. After criticizing existing approaches—the existential quantificational analysis, the universal quantificational analysis, and the conditional analysis—it presents a new account that builds on both the existential and conditional analyses. On this account, the act conditional analysis, a sentence like ‘John can swim across the river’ says that there is some practically available action that is such that if John tries to do it, he swims across (...) the river. The essay argues that the act conditional analysis avoids the problems faced by existing accounts of agentive modality and shows how the act conditional analysis can be extended to an account of generic agentive modal claims. The upshot is a new vantage point on the role of agentive modal ascriptions in practical discourse: ability ascriptions serve as a kind of hypothetical guarantee, and compulsion ascriptions as a kind of nonhypothetical guarantee. (shrink)

Asylum has become a highly charged political issue across developed countries, raising a host of difficult ethical and political questions. What responsibilities do the world's richest countries have to refugees arriving at their borders? Are states justified in implementing measures to prevent the arrival of economic migrants if they also block entry for refugees? Is it legitimate to curtail the rights of asylum seekers to maximize the number of refugees receiving protection overall? This book draws upon political and ethical theory (...) and an examination of the experiences of the United States, Germany, the United Kingdom and Australia to consider how to respond to the challenges of asylum. In addition to explaining why asylum has emerged as such a key political issue in recent years, it provides a compelling account of how states could move towards implementing morally defensible responses to refugees. (shrink)

Conspiracy theories are a popular topic of conversation in everyday life but are often frowned upon in academic discussions. Looking at the recent spate of philosophical interest in conspiracy theories, The Philosophy of Conspiracy Theories looks at whether the assumption that belief in conspiracy theories is typically irrational is well founded. -/- The Philosophy of Conspiracy Theories is aimed at both the philosopher and the non-philosopher. It is a qualified defence of belief in conspiracy theories: belief in conspiracy theories can (...) be rational in some circumstances. It covers such issues as: who might be considered a qualified conspiracy theorist; how do we analyse claims of disinformation; is our reliance on official theories a good reason to be suspicious of rival conspiracy theories; and what should we do when official theories and conspiracy theories are in conflict? -/- Matthew Dentith is a New Zealand-based philosopher whose research includes analyses of why we have grounds to be suspicious of official theories, the reliability of the transmission of rumours, and the role of trust in the acceptance of theories. (shrink)

On the assumption that genuinely normative demands concern things connected in some way to our agency, i.e. what we exercise in doing things with or for reasons, epistemologists face an important question: are there genuine epistemic norms governing belief, and if so where in the vicinity of belief are we to find the requisite cognitive agency? Extant accounts of cognitive agency tend to focus on belief itself or the event of belief-formation to answer this question, to the exclusion of the (...) activity of maintaining a system of beliefs. This paper argues that a full account of epistemic normativity will need to make sense of this activity as a core locus of cognitive agency. This idea is used to motivate the conclusion that one important and often overlooked kind of epistemic norms is the kind of norms governing the various cognitive activities by which we check, sustain, and adjust our belief systems. (shrink)

This chapter offers a phenomenological account of impaired agency in depression. It begins by briefly considering some first-person descriptions of how depression affects the ability to act, which point to an altered "experience of free will." Although it is often assumed that we have such an experience, it is far from clear what it consists of. The chapter argues that this lack of clarity is symptomatic of looking in the wrong place. Drawing on themes in Sartre's Being and Nothingness, it (...) is suggested that the sense of freedom associated with action is not-first and foremost-an episodic "quale" or "feeling" that is experienced as internal to the agent. Rather, it is embedded in the experienced world; my freedom appears in the guise of my surroundings. This makes better sense of what people with depression consistently describe-a diminished ability to act that is inextricable from a transformation of the experienced world. In addition to illuminating an aspect of the experience of depression, the chapter aims to illustrate something more general: how phenomenology and psychiatry can interact in a fruitful way. (shrink)

Neuroscience has long had an impact on the field of psychiatry, and over the last two decades, with the advent of cognitive neuroscience and functional neuroimaging, that influence has been most pronounced. However, many question whether psychopathology can be understood by relying on neuroscience alone, and highlight some of the perceived limits to the way in which neuroscience informs psychiatry. -/- Psychiatry as Cognitive Neuroscience is a philosophical analysis of the role of neuroscience in the study of psychopathology. The book (...) examines numerous cognitive neuroscientific methods, such as neuroimaging and the use of neuropsychological models, in the context of a variety of psychiatric disorders, including depression, schizophrenia, dependence syndrome, and personality disorders. -/- Psychiatry as Cognitive Neuroscience includes chapters on the nature of psychiatry as a science; the compatibility of the accounts of mental illness derived from neuroscience, information-processing, and folk psychology; the nature of mental illness; the impact of methods such as fMRI, neuropsychology, and neurochemistry, on psychiatry; the relationship between phenomenological accounts of mental illness and those provided by naturalistic explanations; the status of delusions and the continuity between delusions and ordinary beliefs; the interplay between clinical and empirical findings in psychopathology and issues in moral psychology and ethics. -/- With contributions from world class experts in philosophy and cognitive science, this book will be essential reading for those who have an interest in the importance and the limitations of cognitive neuroscience as an aid to understanding mental illness. (shrink)

The analysis and defence of democracy on the grounds of its epistemic powers is now a well-established, if contentious, area of theoretical and empirical research. This article reconstructs a distinctive and systematic epistemic account of democracy from Dewey’s writings. Running like a thread through this account is a critical analysis of the distortion of hierarchy and class division on social knowledge, which Dewey believes democracy can counteract. The article goes on to argue that Dewey’s account has the resources to defuse (...) at least some important forms of the broader charges of instrumentalism and depoliticization that are directed at the epistemic project. The gloomy conviction of the stratified character of capitalist societies and the conflictual character of their politics shapes Dewey’s view of political agency, and this article outlines how this epistemic conception of democracy is deployed as a critical standard for judging and transforming existing political forms but also serves as a line of defence for democratic political forms against violent and authoritarian alternatives. (shrink)

Technical results about the time dependence of eigenvectors of reduced density operators are considered, and the relevance of these results is discussed for modal interpretations of quantum mechanics which take the corresponding eigenprojections to represent definite properties. Continuous eigenvectors can be found if degeneracies are avoided. We show that, in finite dimensions, the space of degenerate operators has co-dimension 3 in the space of all reduced operators, suggesting that continuous eigenvectors almost surely exist. In any dimension, even when degeneracies are (...) hit, we find conditions under which a theorem due to Rellich can provide continuous eigenvectors. We use this result to formulate an extended version of the modal interpretation. We also discuss eigenvector instability which we argue poses a serious problem for the modal interpretation, even in our extended version. Many examples are given to illustrate the mathematics. (shrink)

This book provides a focus for future discussion in one of the most important debates within historical theology within the protestant tradition - the debate about the definition of a category of analysis that operates over five centuries of religious faith and practice and in a globalising religion. In March 2009, TIME magazine listed ‘the new Calvinism’ as being among the ‘ten ideas shaping the world.’ In response to this revitalisation of reformation thought, R. Scott Clark and D. G. Hart (...) have proposed a definition of ‘Reformed’ that excludes many of the theologians who have done most to promote this driver of global religious change. In this book, the Clark-Hart proposal becomes the focus of a debate. Matthew Bingham, Chris Caughey, and Crawford Gribben suggest a broader and more historically responsible definition for ‘Reformed,’ as Hart and Scott respond to their arguments. (shrink)

This book explores how ancient philosophers, particularly Plato, Aristotle, the Stoics, and Sextus Empiricus, understood relativity and how their theories of the phenomenon affected, and were affected by, their broader philosophical outlooks.

This article examines the relationship of pragmatism to the theory of deliberative democracy. It elaborates a dilemma in the latter theory, between its deliberative or epistemic and democratic or inclusive components, and distinguishes responses to this dilemma that are internal to the conception of deliberation employed from those that are external. The article goes on to identify two models of pragmatism and critically examines how well each one deals with the tension identified in deliberative democracy.

Daniel Dennett is one of the most influential thinkers at the interface between philosophy and science. This book is the first comprehensive examination of Dennett ’s ideas on the nature of thought, consciousness, free will, and the significance of Darwinism. A highly original introduction to contemporary thinking about the relationship between mind and science. This is the first comprehensive examination of Dennett ’s ideas on the nature of thought, consciousness, free will, and the significance of Darwinism. Examines Dennett ’s unique (...) response to the question of when and how science should affect the conception that we have of ourselves. Casts new light on specific controversies: Could robots ever think, feel, and enjoy freedom? Does Dennett really explain consciousness? Are mental states real or merely ‘useful fictions’? Do we have free will? Is the self a ‘centre of narrative gravity’? (shrink)

This article argues that the contemporary acceptability of abortion is not solely due to the Liberal imperative to exercise individual choice. Rather, abortion's acceptability needs to be explained with reference to the techniques of consumer culture. This article will begin by explaining how practices in general predispose one to gravitate towards one form of practices rather than another. It will then look at how consumer practices generate a biopolitics of economic efficiency and corporeal commodification which culminates in a politics of (...) visibility. Under such conditions, even basic categories like mere existence is dependent on its ability to be displayed for public view. This article will conclude by reflecting on the necessity of forging the Church not as a subsection of a public framed by consumerism, but as an alternative public in its own right. (shrink)

Accidents involving large trucks result in significant economic and social costs. As technological solutions have improved, behavioral factors contributing to accidents have risen in importance. The purpose of this research is to investigate how norms, consequences, and personal attitudes influence safety-related ethical judgments and behavioral intentions. The Hunt–Vitell’s theory of ethical decision-making is adapted to test how these factors influence truck drivers’ decisions containing ethical content. Professional truck drivers evaluated decisions presented in two scenarios that included the situation, the decision, (...) and the results. The research found that drivers rely heavily on evaluations of safety norms when forming ethical judgments and behavioral intentions. Further, drivers’ attitudes toward compliance and the effectiveness of safety regulations also influenced decision-making to an extent. Overall, evidence of a refutation of the assumption that a tradeoff exists between operational productivity and safety was discovered. Drivers in this study intended to behave in a certain manner irrespective of time or money pressures. The perceived ethical component of the decision outweighed regulatory and economic consequences under a range of parameters. (shrink)

Getting Emotional -- Constructing Discourse -- Telling and Remembering -- Inviting Emotional Tellings -- Eliciting Feelings -- (re)formulating Emotionality -- Managing Emotionality and Distress -- Being Negative -- Reflecting Back, Moving Forward.

Following are two short contributions to the book, _Criminal Law Conversations_: commentaries on Paul Robinson's discussion of "Empirical Desert" and Antony Duff & Sandra Marshal's discussion of the sharing of wrongs.

Max Scheler never published a theory of art, but his aesthetics, like the rest of his thought, occupies an intriguing position that links early phenomenology, Catholic personalist thought, and philosophical anthropology. His metaphysics of the person and theory of value, when combined with his account of the lived-body and of our access to other minds through love, translates into a powerful, humanistic theory of art. This article elaborates what Scheler’s aesthetics would look like had he developed it and applied it (...) to film. Film offers an intimate access to the lives, bodies, and minds of others that is particularly well-suited to Scheler’s idea that art reveals the moral personality—the ordo amoris or “order of love”—that makes up the value-essence of the person. The person’s unique and highest possibilities for acting, feeling, and valuing are the contents of their spiritual essence and these, often thought obscure and inaccessible, are made present in film. (shrink)