In their new book Escaping Paternalism, Glen Whitman and Mario Rizzo try to persuade readers to be skeptical of behavioral paternalism. Rizzo and Whitman describe behavioral...

This review article provides a new perspective on the ethics of green nudging. We advance a new model for assessing the ethical permissibility of green nudges (GNs). On this model, which provides normative guidance for policymakers, a GN is ethically permissible when the intervention is (1) efficacious, (2) cost-effective, and (3) the advantages of the GN (i.e. reducing the environmental harm) are not outweighed by countervailing costs/harms (i.e. for nudgees). While traditional ethical objections to nudges (paternalism, etc.) remain potential normative (...) costs associated with GNs, any such costs must be weighed against the injunction to reduce environmental harm to third parties. (shrink)

In my introduction to Kontinuität und Mechanismus, I expressed surprise at the lack of work which was being done at the time on the young Leibniz in spite of the fact that conditions for investigating the period up to 1676 are almost ideal—certainly in Leibnizian terms. Most of the letters and papers from this period of immediate philosophical significance have now been published in the Akademie-Ausgabe so that there is here an incomparably better starting point for detailed studies than in (...) the case of his later work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 95 direction, it opens a field of pure philosophy, unencumbered by surds such as finite man. Only if the Phenomenology is taken as a monographic work on man can there be difficulty. Let us hasten to add that, on the very premises of his book, Loewenberg's criticism of Hegel is tentative rather than apodictic; its harshness is relieved through the dialogue form. And perhaps, the interlocutors will, (...) as one of them suggests, "resume (their) conversations with fresh minds at a later date" (p. 371). They might find that they have to go beyond the limits of exoteric discussion. Or, conversely, they might find that exoteric treatment can yield no more than an anthropological reading and is, in fact, bound up with it. If Loewenberg 's extant commentary did no more than demonstrate this negative point, however implicitly,it would be of great merit. But there is of course much more: there is the substance of Loewenberg's commentary, largely unaffected by the above counter-representations. Theoretical problems aside, the supreme value of the book lies in its clarity and perceptiveness, in the "sense" it makes of the Phenomenology. Of a kind all its own, it will henceforth serve as the preferred entrance to Hegel. KLAUS HARTMANN Bonn, W. Germany Arthur Hfibscher, editor. XXXVIlI. Schopenhauer-Jahrbuch ]~r das Jahr 1957. (Frankfurt/ Main: Waldemar Kramer, 1967.Pp. v + 244.) Schopenhauer: Philosophe de l'Absurde. By Clement Brosset. (Paris: Presses Universitaires de France, 1967.Pp. ix [i] -b 107.Paper, F. 7.--) Manches in dem Jahrbuch ist rein anekdotisch; manches bio- oder bibliographisch. Einiges h~ngt nur sehr lose mit Schopenhauer zusammen; so der liingste Beitrag (K. Engisch, "Todesstrafe--ja oder nein?,") mit nfitzlicher historischer und systematiseher Ubersieht, die zum Ergebnis kommt, dass die Argumente gegen die Todesstrafe iiberwiegen. Von gesetzgeberischen Interessen getragen ist such G. Zoebe, "Sind die Tiere rechtlos?" Der zweitliingste Beitrag (H. Voigt, 'r0ber Schopenhauers Erkenntnistheorie,') enth~ilt eine Art von Variationen sum Thema des Zusammenhanges zwischen Charakter und Schicksah Man freut sich, dass ein Inder (Kanti Chandra Pandey) sich fiber Schopenhauers Kenntnis des Hinduismus und Buddismus eehr anerkennendausspricht. Das Bild der Sehopenhauerschen Philosophie, wie es uns im Jahrbuch begeguet ist das uns vertraute: Pessimismus, ErlSsung durch Kunst, Mitleid, Verneinung des Willens. Aber nach Brosset erfassen diese Kategorien nur die sekund~ren Charaktere der Schopenhauerschen Philosophie. In ihrem wirklich wertvollen Kern sei diese Philosophie erstens Vorl~uferin der yon Brosset so genannten genealogischen Philosophie eines Marx, Nietzsche und Freud; allerdings letzten Endes ein Versager, da sie auf das eigentliche Anliegen der genealogischen Philosophie, n~mlich die Ableitung konkreter und spezifischer Ideen (bei Schopenhauer: der Intelligenz) aus der Umformung unbewusster Tatbestiinde (bei Schopenhauer: des Willens), nicht eingehe, sondern sich mit der Feststellung begniigt, dass die Wurzel der (bewussten) InteUigenz der (unbewusste) Wille ist. Zweitens sei Schopenhauer der erste, der seine Philosophie auf der Urerfahrung der Grundlosigkeit (Brosset zieht den Ausdruck Absurdit~t vor), daher Unausdenkbarkeit oder Unergrfindlichkeit des Seins im ganzen, aufbaut. Auf diese Erfahrung (die Frage, 'Warum nicht Nichts?' ist unbeantwortbar) reagiere der Menseh mit Angst. Die Notwendigkeit und die Zweckm~issigkeit, die die Welt im ganzen charskterisieren, seien selbst kontingent und zwecklos. Manchmal scheint mir Brosset die Originalitiit seiner Interpretationen zu iiberseh~tzen; insbesondere seine Erkl~rung der Blindheit des Willens (S. 26f.) rennt wohl offene Tfiren ein. PHILIP MERLAN ~cripps College, Claremont, California... (shrink)

_Esotericism, Art, and Imagination_ is a uniquely wide- ranging collection of articles by scholars in the field of Western esotericism, focusing on themes of poetry, drama, film, literature, and art. Included here are articles illuminating such diverse topics as the Gnostic fiction of Philip Pullman, alchemical images, the Tarot, surrealism, esoteric films, and much more. This collection reveals the richness and complexity of the intersections between esotericism, artistic creators, and their works. Authors include Joscelyn Godwin, Cathy Gutierrez, M. E. (...) Warlick, Eric Wilson, and many others. (shrink)

Abstract The concepts of consciousness and the unconscious have been problematic for cognitive science. This paper is an attempt to determine if artistic and, especially, scientific creativity, taken as a paradigm of cognitive activity, can be explained without recourse to the concept of the unconscious. It opens with a description of creative experience, guided by the works of Arthur Koestler and Abraham Pais and illustrated by anecdotes from the history of science. It then offers a summary and critique of (...) the classical Freudian account of creativity. Next, adopting the perspective of connectionism or parallel distributed processing, the paper proceeds to examine the possibility of creative insight in neural networks. It closes with some observations on the brain/mind problem and with remarks on the necessity and usefulness of the unconscious as an explanatory construct. (shrink)

Abstract.This article takes on a perhaps impossible task: not only to reconstruct the core argument of Arthur Peacocke's program in science and religion but also to evaluate it in two major areas where it would seem to be vulnerable, namely, more recent developments in systems biology and the philosophy of mind. If his theory of hierarchies is to be successful, it must stand up to developments in these two areas and then be able to apply the results in a (...) productive way to Christian theological reflection. Peacocke recognized that one's model of the mind‐body relation is crucial for one's position on the God‐world relation and divine action. Of the three models that he constructed, it turns out that only the third can serve as a viable model for theology if it is to be more than purely deistic or metaphorical. (shrink)

Arthur C. Danto's essays not only critique bodies of work but reflect upon art's conceptual evolution as well, drawing for the reader a kind of "philosophical map" indicating how art and the criteria for judging it has changed over the twentieth century. In _Unnatural Wonders_ the renowned critic finds himself at a point when contemporary art has become wholly pluralistic, even chaotic-with one medium as good as another-and when the moment for the "next thing" has already passed. So the (...) theorist goes in search of contemporary art's most exhilarating achievements, work that bridges the gap between art and life, which, he argues, is now the definitive art of our time. Danto considers the work of such young artists as John Currin and Renee Cox and older living masters including Gerhard Richter and Sol LeWitt. He discusses artists of the New York School, like Philip Guston and Joan Mitchell, and international talents, such as the South African William Kentridge. Danto conducts a frank analysis of Matthew Barney's _The Cremaster Cycle_, Damien Hirst's skeletons and anatomical models, and Barbara Kruger's tchotchke-ready slogans; finds the ghost of Henry James in the work of Barnett Newman; and muses on recent Whitney Biennials and art influenced by 9/11. He argues that aesthetic considerations no longer play a central role in the experience and critique of art. Instead art addresses us in our humanity, as men and women who seek meaning in the "unnatural wonders" of art, a meaning that philosophy and religion are unable to provide. (shrink)

The present malaise of religion—and of theology, its intellectual formulation—in Western society is analyzed, with some personal references, especially with respect to its history in the United Kingdom and the United States. The need for a more open theology that takes account of scientific perspectives is urged. An indication of the understandings of God and of God's relation to the world which result from an exploration starting from scientific perspectives is expounded together with their fruitful relation to some traditional themes. (...) The implications of this for the future of theology are suggested, not least in relation to the new phase, beginning in 2003, of the development of the Zygon Center for Religion and Science. In a concluding reflection the hope is expressed that the shared global experience and perspectives generated by the sciences might form a more common and acceptable starting point than hitherto for the exploration towards God of the seekers of many religious traditions and of none. (shrink)

To whom, if anyone, are the writings of philosophers of science relevant? There are three potential groups of people: Philosophers, Scientists, and Interested Citizens, within and beyond the academy. I argue that our discipline is potentially relevant to all three, but I particularly press the claims of the Interested Citizens. My essay is in dialogue with a characteristically insightful lecture given thirty years ago by Arthur Fine. Addressing the Philosophy of Science Association as its president, Fine argued that general (...) philosophy of science was dead, and that all the action lay in the philosophy of the special sciences. I try to identify what was correct about Fine’s diagnosis, while supplementing his message by describing fruitful projects that have since emerged. I also hope to share his subversive spirit. (shrink)

For my son NathanielRecent studies suggest that Philip Roth's creative impulse is in some measure indebted to Arthur Koestler's Insight and Outlook and to Jean-Paul Sartre's Being and Nothingness.1 Koestler advances a theory of "bisociative" thinking—that is, the perception of consonance amidst the clash of seemingly dissonant planes of knowledge. The theme finds expression in the very title of Koestler's book, given the compatibility, despite opposite root prepositions, of such words as "in sight" and "out look." Insofar as (...) Roth's narrator Nathan Zuckerman mentions "Koestler" in The Anatomy Lesson, Zuckerman's otherwise obscure lament (because of writer's block and neck... (shrink)

This paper examines the relationship between Arthur Fine’s “Natural Ontological Attitude” and the work of neo-pragmatists, particularly Hilary Putnam and Richard Rorty. I argue that many of the problems that face Fine’s account can be seen as a direct result of his failure to employ certain key pragmatist insights concerning the nature and status of the realism-antirealism issue. Consequently, I suggest that we should cease to think of Fine as representative of mainstream attempts to dispense with the realism-antirealism issue (...) and instead view NOA as an unfortunate mixture of opposed philosophical traditions. (shrink)

It is no secret that, for Nietzsche, philosophy and poetry are closely related. Some of his most important works contain poems, or even present themselves as poetry. Yet, in their efforts to make Nietzsche a respectable philosopher, scholars have turned their attention away from this poetic dimension and have privileged instead the philosophical dimension of his work. The title of the present volume, Nietzsche als Dichter, echoes Arthur Danto’s influential Nietzsche as Philosopher, and therefore aims to reinstate the part (...) previously left aside. In order to do so, the articles in the volume focus on specific poems or poetic aspects of Nietzsche’s... (shrink)

This case involves the quandary of a businessman named Arthur Eldredge. A member of the Board of Trustees of Plum Valley Hospital, he is uneasy about apparent conflicts of interest among many board members. Further, Mr. Eldredge is unsure if he can fulfill his responsibilities to the Board. As a trustee of the hospital, he thinks he should do something about these issues: and he is uncertain about what action to take.

This case involves the quandary of a businessman named Arthur Eldredge. A member of the Board of Trustees of Plum Valley Hospital, he is uneasy about apparent conflicts of interest among many board members. Further, Mr. Eldredge is unsure if he can fulfill his responsibilities to the Board. A trustee of the hospital, he thinks he should do something to resolve these issues. He is uncertain about what action to take.

The world of John Dewey scholarship recently lost one of its most thoughtful contributors, and teachers of all kinds lost one of their most passionate and committed advocates. Philip W. Jackson was born in 1928 in Vineland, New Jersey, a locale known historically for its excellent grape-growing soil and veterinarian Arthur Goldhaft’s famous pledge to “put a chicken in every pot.” Jackson’s adoptive parents were, appropriately enough, chicken farmers, and, as the story goes, they noticed early on his (...) indisputable knack for singing and poetry recitation. Feeling very at home on the stage, the plucky six-year-old even tried his hand as a vaudevillian, performing a snake charmer act between reels at.. (shrink)

cannot grasp what is at stake in it without taking both its claims and its tone seriously. Read philosophically, Danto wants to reconceive art’s aesthetic dimension as those features that ‘inflect’ our attitude towards a work’s meaning, and to distinguish, in so doing, between beauty that is and beauty that is not internal to that meaning. Although welcome, I argue that his attempt to carry this through is compromised by his countervailing tendency to conceive the aesthetic in non-cognitive terms. Read (...) as a work of philosophical confession, on the other hand, I suggest that Danto’s late turn to aesthetics may be illuminated through a comparison with Philip Guston’s late turn to figuration. To do so, I draw parallels between Guston’s development as a painter and Danto’s philosophical trajectory. Danto concludes that, though necessary to life, beauty is not necessary to art; I conclude that, on this account, only an aesthetic art makes a warranted claim on our attention. (shrink)

Arthur C. Danto is unique among philosophers for the breadth of his philosophical mind, his eloquent writing style, and the generous spirit embodied in all his work. Any collection of essays on his philosophy has to engage him on all these levels, because this is how he has always engaged the world, as a philosopher and person. In this volume, renowned philosophers and art historians revisit Danto's theories of art, action, and history, and the depth of his innovation as (...) a philosopher of culture. Essays explore the importance of Danto's philosophy and criticism for the contemporary art world, along with his theories of perception, action, historical knowledge, and, most importantly for Danto himself, the conceptual connections among these topics. Danto himself continues the conversation by adding his own commentary to each essay, extending the debate with characteristic insight, graciousness, and wit. Contributors include Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, testifying to the far-reaching effects of Danto's thought. Danto brought to philosophy the artist's unfettered imagination, and his ideas about postmodern culture are virtual road maps of the present art world. This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism. (shrink)

Arthur O. Lovejoy conceived of the history of ideas as an interdisciplinary study, encompassing a variety of fields, including literary history, comparative literature, the history of folklore and ethnography, the history of language and the history of religious beliefs. This volume gathers together some of the most significant articles concerning the theory and practice of intellectual history, by Lovejoy himself and other scholars. Contributors: DONALD R. KELLEY, ARTHUR O. LOVEJOY, FREDERICK J. TEGGART, LEO SPITZER, THEODORE SPENCER, ABRAHAM EDEL, (...) PAUL O. KRISTELLER, PHILIP P. WIENER, JOSEPH A. MAZZEO, LEONARD KRIEGER, DANIEL J. WILSON, EDWARD P. MAHONEY, FRANCIS OAKLEY,JOHANN HUIZINGA, JOSEPH KATZ, CALVIN G. RAND, NILS B. KVASTAD, LESTER G. CROCKER and PATRICK H. HUTTON. (shrink)

This chapter contains sections titled: Formalism Enhanced Formalism Beyond Formalism.

Twentieth-century developments in quantum physics, together with an emerging science of consciousness, have created the need for a new cosmology, or model of the universe. The theory of process contained in THE REFLEXIVE UNIVERSE places consciousness within the context of contemporary science. One of the central themes of this extraordinary work is that each successive organization of matter, from fundamental particles in physics to living organisms, expresses a particular stage in the evolution of mind. Starting with the photon, the basic (...) unit of light, and moving through atomic physics, molecular chemistry, the morphology of plants and animals and finally to levels of human evolution, Young develops his theory in vivid step-by-step detail. Consciousness, in his point of view, is not isolated from the material universe. It exists in a continuum, one in which physical and nonphysical realms can be linked and the teachings of mythology and religion can be integrated. To order: FAX: 415-883-9280; e-mail: [email protected]; or write: Anodos Foundation, c/o Publishers Services, P.O. Box 2510, Novato, CA 94948. Visa and MasterCard only. Trade STOP orders 40% plus postage. (shrink)

In his book “Galileo’s Error”, Philip Goff lays out what he calls “foundations for a new science of consciousness”, which are decidedly anti-physicalist (panpsychist), motivated by a critique of Galileo’s distinction into knowable objective and unknowable subjective properties and Arthur Eddington’s argument for the limitation of purely structural (physical) knowledge. Here we outline an alternative theory, premised on the Interface Theory of Perception, that too subscribes to a “post-Galilean” research programme. However, interface theorists disagree along several lines. 1. (...) They note that Galileo’s distinction should be replaced by a truly non-dual account, referring to a difference of degree only. 2. They highly appreciate the role of mathematics, in particular when it comes to actually engage scientifically with consciousness. Some notable features of the interface theory are its skepticism towards our epistemic capacities and its rejection of the existence of a public, mind-independent reality. In addition, some interface theorists further employ a thin concept of “conscious agency” to ground their theory. The interface theory leaves open many of the problems of consciousness science (e.g. what is a “self”?) as questions for further (scientific, mathematical) research. (shrink)

Fodor & Pylyshyn (1981) criticize J. J. Gibson's ecological account of perception for failing to address what I call the 'correlation problem' in visual perception. That is, they charge that Gibson cannot explain how perceivers learn to correlate detectable properties of the light with perceptible properties of the environment. Furthermore, they identify the correlation problem as a crucial issue for any theory of visual perception, what I call a 'primary problem'—i.e. a problem which plays a definitive role in establishing the (...) concerns of a particular scientific research program. If they are correct, Gibson's failure to resolve this problem would cast considerable doubt upon his ecological approach to perception. In response, I argue that both Fodor & Pylyshyn's problem itself and their proposed inferential solution embody a significant mistake which needs to be eliminated from our thinking about visual perception. As part of my response, I also suggest a Gibsonian alternative to Fodor & Pylyshyn's primary problem formulation. (shrink)