A crucial problem of conflict management is that whatever happens in negotiations will be interpreted and framed by stakeholders based on their different belief-value systems and world views. This problem will be discussed in the first part of this article as the main cognitive problem of conflict management. The second part develops a general semiotic solution of this problem, based on Charles Peirce's concept of "diagrammatic reasoning." The basic idea is that by representing one 's thought in diagrams, the conditions (...) that determine interpretations can become visible, we can "experiment" with them, and we can change them eventually. The third part, finally, focuses on a concrete tool, called Logical Argument Mapping , that can be used in conflict management to perform such diagrammatic reasoning and to cope with the cognitive problems discussed in the first part. The Israeli-Palestinian conflict on the sovereignty over Jerusalem will be used as an example to show how LAM could work in practice. (shrink)

Third generation prospect theory is a theory of choices and of judgments of highest buying and lowest selling prices of risky prospects, i.e., of willingness to pay and willingness to accept. The gap between WTP and WTA is sometimes called the “endowment effect” and was previously called the “point of view” effect. Third generation prospect theory combines cumulative prospect theory for risky prospects with the theory that judged values are based on the integration of price paid or price received with (...) the consequences of gambles. In TGPT, the discrepancy between WTP and WTA is due to loss aversion-losses have greater absolute utility than gains of the same value. TGPT was developed independently of similar developments by Birnbaum and Zimmermann :145–187, 1998) and Luce. This paper reviews theoretical and empirical findings, to show that TGPT fails as a descriptive model of both choices and judgments. Evidence refutes three implications of TGPT, but they are consistent with configural weight models in which loss aversion is not needed to describe the results. In the configural weight models, buyers place greater weight on lower consequences, attributes or estimates of value compared to sellers, who place greater configural weight on higher aspects of an object or prospect. (shrink)

Ignoring consciousness, I apply Palmer 's ideas to a photometer, for which calibration is analogous to socialization of humans to agree in color. Some attributes of the photometer – such as its aperture – do not need to be known because their values are transparent to calibration. But a writing demon can wreak havoc if it permutes measured values before interpolation completes calibration – as happens in Palmer 's color rewirings.

The paper aims to show how by elaborating the Peircean terms used in the title creativity in learning processes and in scientific discoveries can be explained within a semiotic framework. The essential idea is to emphasize both the role of external representations and of experimenting with those representations , and to describe a process consisting of three steps: First, looking at diagrams "from a novel point of view" offers opportunities to synthesize elements of these diagrams which have never been perceived (...) as connected before. Second, by forming those observed syntheses to "new objects" of thinking, and by signifying these objects through new signs , new means of thinking and acting are created . And finally, by applying these new means – in proofs, for instance – the "intelligibility" of new discoveries and their power to explain problematic facts must be tested. (shrink)

Michael H. McCarthy has carefully studied the writings of Bernard Lonergan (Canadian philosopher-theologian, 1904-1984) for over fifty years. In his 1989 book, The Crisis of Philosophy, McCarthy argued for the superiority of Lonergan's distinctive philosophical project to those of his analytic and phenomenological rivals. Now in Authenticity as Self-Transcendence: The Enduring Insights of Bernard Lonergan, he develops and expands his earlier argument with four new essays, designed to show Lonergan's exceptional relevance to the cultural situation of late modernity. The (...) essays explore and appraise Lonergan's cultural mission: to raise Catholic philosophy and theology to meet the intellectual challenges and standards of his time. (shrink)

One of the most difficult problems challenging the human mind is knowledge of the world in its human, natural, and supra-natural dimensions: what is the nature of this multidimensional reality? How do we know and verify the truth of our knowledge claims of this reality? A contemporary Polish philosopher, Malgorzata Czarnocka, has advanced one of the most comprehensive and insightful studies of the cognitive act and the conditions under which it takes place. The proposition explicated in this book is that (...) Czarnocka's analysis of perception functions as a model of explanation in our attempt to know the nature of the being that underlies the universe. This analysis becomes the basis of the author's discussion of symbolic truth as a model of explanation and its other applications. (shrink)

This paper is a critical analysis of the conditions under which a decent world order is possible, an order in which the different peoples of the world can thrive under the conditions of peace, cooperation, freedom, justice, and prosperity. This analysis is done from the standpoint of Janusz Kuczyński’s philosophy of universalism as a metaphilosophy. More than any other in the contemporary period, this philosophy has advanced a focused, systematic, and comprehensive analysis of these conditions on the basis of a (...) universal vision of nature, human nature, and the meaning of human life and destiny. The paper is composed of three parts. The first part is devoted to a short overview of activism in the history of philosophy. The second part is devoted to an analysis of the main elements of universalism as a metaphilosophy, especially the theoretical conditions of establishing a decent world order. The third part is devoted to a discussion of the practical steps that should be taken to establish a decent world order. (shrink)

Based on a typology of five basic forms of abduction, I propose a new definition of abductive insight that empha sizes in particular the inferential structure of a belief system that is able to explain a phenomenon after a new, abductive ly created component has been added to this system or the entire system has been abductively restructured. My thesis is, first, that the argumentative structure of the pursued problem solution guides abductive creativity and, second, that diagrammatic reasoning—if conceptualized according (...) to the requirements defined by Charles Peirce—can support this guidance. This support is mainly possible based on the normative power of the system of representation that has to be used to construct diagrams and to perform experiments with them. (shrink)

This argument map represents the argumentation of Sparrow, R. . "Just say No" to Drones. IEEE Technology and Society Magazine, M 1932-4529/12, 56-63. doi: 10.1109/MTS.2012.2185275. The argument map is open for debate in AGORA-net, search for map ID 9712.

In this article I offer an account of what it means for Universalism to be a metaphilosophy. I first argue that traditional philosophical systems and views suffer from two main defects. First, they are closed, in the sense that they have made their final judgment on what the world is like. Second, they are mostly Eurocentric; regardless of their attempt to be objective and universalist in their orientation, they express the European values, beliefs, and world views. As a metaphilosophy, Universalism (...) is an open concept. It recognizes that our knowledge of the world is an on-going process of discovery. It does not attempt to synthesize or reject the variety of religious, ideological, and philosophical views and approaches; on the contrary, it seeks to provide a universal conceptual framework within which these views and approaches can thrive and dialogue with each other. The structure of this framework is made up of the universal features of nature and human nature. Accordingly the universal is not an ideal or natural or metaphysical essence of some kind. The universal is made, and it is made collectively by scholars from the different academic disciplines. This is why Universalism aspires to articulate the most comprehensive vision of the world. In this attempt it tries to grasp the highest fruits of all the achievements of the human spirit in religion, ideology, philosophy, and culture. I also discuss two more important features of Universalism as a metaphilosophy: co-creation and metanoia. (shrink)

The author presents here the “Crystal palace” as a symbol of the unity of human beings with each other and also with nature. In this unity beauty, truth and love find their highest actuality. The universality of human nature is the basis and impetus for creating a bond of community between the peoples of the world. Hence follow the author’s reflections on the conditions for developing universal society.

The majority of aestheticians have focused their attention during the past three decades on the identity, or essential nature, of art: can 'art' be defined? What makes an object a work of art? Under what conditions can we characterize in a classificatory sense an object as an art work? The debate, and at times controversy, over these questions proved to be constructive, intellectually stimulating, and in many cases suggestive of new ideas. I hope this debate continues in its momentum and (...) creative outcome. The time is, however, ripe to direct our attention to another important, yet neglected, concept - viz. , 'aesthetic experience' - which occupies a prominent place in the philosohpy of art. We do not only create art; we also enjoy, i. e. , experience, and evaluate it. How can we theorize about the nature of art in general and the art work in particular, and about what makes an object a good work of art, if we do not experience it? For example, how can we identify an object as an art work and distinguish it from other types of objects unless we first perceive it, that is in a critical, educated manner? Again, how can we judge a work as good, elegant, melodramatic, or beautiful unless we first perceive it and recognize its artistic aspect? It seems to me that experiencing art works is a necessary condition for any reasonable theory on the nature of art and artistic criticism. (shrink)