An investigation of public support for coastal adaptation options and public finance options in Florida evaluated stakeholder judgments and how they changed through a participatory engagement process. The study found that public finance mechanisms that imposed fiscal burdens on those who directly benefit from hazard reduction were rated as more acceptable than others. Significantly, visualisations and data on local economic damage and return on investment of potential adaptation options further increased acceptability ratings. The question of whether a development fee for (...) adaptation or any other public purpose supported by private funds is a legal issue that depends on a test called the rational nexus. One concern of this article is to explore options for such fees to cover adaptation to climate change. This raises issues about the potential conflict with the community-wide and intergenerational nature of long-term adaptation. We also explore the relevance of environmental attitudes using the ‘new environmental paradigm’ (NEP) scale and political party affiliation. Results have implications for infrastructure improvements that require public approval for financing. (shrink)

Recent work on the hole argument in general relativity by Weatherall has drawn attention to the neglected concept of models’ representational capacities. I argue for several theses about the structure of these capacities, including that they should be understood not as many-to-one relations from models to the world, but in general as many-to-many relations constrained by the models’ isomorphisms. I then compare these ideas with a recent argument by Belot for the claim that some isometries “generate new possibilities” in (...) general relativity. Philosophical orthodoxy, by contrast, denies this. Properly understanding the role of representational capacities, I argue, reveals how Belot’s rejection of orthodoxy does not go far enough, and makes better sense of our practices in theorizing about spacetime. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

"What culture war? Abortion, gay marriage, school prayer, gun control. Is the nation really polarized on these hot-button moral, religious, and cultural issues? Should we believe the media pundits and politicians who tell us that Americans are deeply divided? No, says Morris Fiorina. At a time when the rift between the "red" and the "blue" states can seem deeper than ever, Fiorina debunks the assumption that Americans are deeply split over national issues. He presents quite a contrary picture -- that (...) most Americans stand in the middle of the political landscape and are in general agreement even on those issues thought to be most divisive. Poking holes in the concept of a "culture war," Fiorina explains that the majority of Americans are both moderate and tolerant, and that their greatest concerns are leadership and security, not moral values. Fiorina supports this position with newly released data from the 2004 election and a variety of other recent surveys. According to Fiorina, the view of a divided America is simply false. By recognizing our common ground, we have a basis for creating a more unified and moderate approach to government and politics in the near future."--. (shrink)

The authors of this volume — all of them recognized representatives of a wide range of academic disciplines — agree that Locke’s work must have had a considerable influence both on English and German literature and the visual arts of Great Britain, especially in the eighteenth and nineteenth centuries. From the perspective of interdisciplinarity and intertextuality, the essays presented here deal with Locke as a source of ideas for Archibald Alison, John Constable, Daniel Defoe, Henry Fielding, Oliver Goldsmith, Johann Timotheus (...) Hermes, William Hogarth, Immanuel Kant, Martin Knutzen, Gottfried Wilhelm von Leibniz, Gotthold Ephraim Lessing, George Lillo, Edward Moore, Johann Gottwerth Müller, Joshua Reynolds, Samuel Richardson, John Ruskin, Joseph Spence, Laurence Sterne, J. M. W. Turner and Thomas Whately, among others. (shrink)

Spinoza studies have seen a renaissance of interest in his views on modality, from which considerable disagreement has emerged about Spinoza's modal commitments. Much of this disagreement stems from larger interpretive disagreements about Spinoza's metaphysics. After a brief introduction, this SEP article begins with Spinoza's views on the distribution of modal properties, which quickly leads the heart of Spinoza's metaphysics, intersecting his views on causation, inherence, God, ontological plenitude and the principle of sufficient reason. Although the question of whether Spinoza (...) was a necessitarian is the predominant topic of discussion in the recent secondary literature on Spinoza's modal views, Spinoza also sketches interesting accounts of the nature of modality and the ground of modality that shed fresh light on his modal commitments. Though understudied by recent interpreters, these latter topics were of interest to Spinoza's peers and remain vibrant research questions in contemporary metaphysics of modality. (shrink)

I argue that Spinoza endorses "conceptual dependence monism," the thesis that all forms of metaphysical dependence (such as causation, inherence, and existential dependence) are conceptual in kind. In the course of explaining the view, I further argue that it is actually presupposed in the proof for his more famed substance monism. Conceptual dependence monism also illuminates several of Spinoza’s most striking metaphysical views, including the intensionality of causal contexts, parallelism, metaphysical perfection, and explanatory rationalism. I also argue that this priority (...) of the conceptual does not commit Spinoza to forms of idealism or mentalism. The question of how to understand different kinds of metaphysical dependence is quite controversial in Spinoza studies; I address major alternative readings in the notes. But there I also try to draw connections to the growing debate in contemporary discussions about metaphysical dependence, as this topic is a happy point of shared interest between Spinoza and contemporary metaphysicians alike. (shrink)

What is Leibniz’s argument for simple substances? I propose that it is an extension of his prior argument for incorporeal forms as principles of unity for individual corporeal substances. The extension involves seeing the hylomorphic analysis of corporeal substances as implying a resolution of matter into forms, and this seems to demand that forms, which are themselves simple, be the only elements of things. The argument for simples thus presupposes the existence of corporeal substances as a key premise. Yet a (...) theory of simple substances as the elements of things threatens to preclude the existence of corporeal substances for Leibniz, and the extension of the argument for forms into an argument for simples is not cogent. If nothing else rides on the simplicity of individual substances, then perhaps instead of being its most fundamental tenet, the doctrine of simples—the monadology—is something that over-extends and destabilizes Leibniz’s metaphysics. (shrink)

I am concerned with epistemic closure—the phenomenon in which some knowledge requires other knowledge. In particular, I defend a version of the closure principle in terms of analyticity; if an agent S knows that p is true and that q is an analytic part of p, then S knows that q. After targeting the relevant notion of analyticity, I argue that this principle accommodates intuitive cases and possesses the theoretical resources to avoid the preface paradox.

Should the idea of economic man-the amoral and self-interested Homo economicus-determine how we expect people to respond to monetary rewards, punishments, and other incentives? Samuel Bowles answers with a resounding "no." Policies that follow from this paradigm, he shows, may "crowd out" ethical and generous motives and thus backfire. But incentives per se are not really the culprit. Bowles shows that crowding out occurs when the message conveyed by fines and rewards is that self-interest is expected, that the employer (...) thinks the workforce is lazy, or that the citizen cannot otherwise be trusted to contribute to the public good. Using historical and recent case studies as well as behavioral experiments, Bowles shows how well-designed incentives can crowd in the civic motives on which good governance depends. (shrink)

As concern over the use of questionable research practices in academic science has increased over the last couple of decades, some reforms have been implemented and many others have been debated and recommended. While many of these proposals have merit, efforts to improve scientific practices are more likely to succeed when they are responsive to the prevailing views and concerns of scientists themselves. To date, there have been few efforts to solicit wide-ranging input from researchers on the topic of needed (...) reforms. This article is a qualitative report of responses from federally funded scientists to the question of what should be done to address the problem of QRPs in their disciplines. Overall, participants were concerned about how institutional and career-oriented incentives encourage the use of QRPs. Compared to previous recommendations, participants had surprisingly little confidence in the ability of ethics training to improve research integrity. (shrink)

I argue that the paradoxes attributed to the Megarians, namely the Liar, the Sorites, presupposition ("Have you stopped beating your father,") and failure of substitution of co-referential terms in psychological verbs ("The Electra") were intended to be reasons to accept Parmenides view that non-being is an incoherent notion and that there is exactly One Being. That is, Eubulides and others were akin to Zeno, in indirectly supporting Parmenidean monism.

Nelson Goodman has constructed two theories of simplicity: one of predicates; one of hypotheses. I offer a simpler theory by generalization and abstraction from his. Generalization comes by dropping special conditions Goodman imposes on which unexcluded extensions count as complicating and which excluded extensions count as simplifying. Abstraction is achieved by counting only nonisomorphic models and subinterpretations. The new theory takes into account all the hypotheses of a theory in assessing its complexity, whether they were projected prior to, or result (...) from, projection of a given hypothesis. It assigns simplicity post-projection priority over simplicity pre-projection. It better orders compound conditionals than does the theory of simplicity of hypotheses, and it does not inherit an anomaly of the theory of simplicity of predicates — its failure to order the ordering relations. Drop Goodman's special conditions, and the problems fall away with them. (shrink)

A new approach to uderstanding the ever-changing information that bombards us. Arbesman is an expert in scientometrics, literally the science of science--how we know what we know. It turns out that knowledge in most fields evolves in systematic and predictable ways, and understanding that evolution can enormously powerful.

Contrary to recent work on the topic, I argue that, in the Sophist, Plato's Visitor does not posit any negative kinds or forms, such as the kind or form of the not-beautiful or not-being. My argument has a textual and a philosophical side. On the textual side, I argue that the Visitor does not posit negative kinds or forms. On the philosophical side, I argue that the Visitor does not need to posit any such entities because he can reach his (...) goals by appeal to difference. The latter conclusion suggests that an appeal to negative kinds or forms would be gratuitous and hence weaken the Visitor’s account. The textual result implies that we need not saddle him with this unsatisfactory view. Rather, by appeal to difference, the Visitor offers a unified account of ‘is not’ claims and false speech that relies on remarkably economical ontological resources. (shrink)

The exchange between the philosopher Pierre Maine de Biran and the psychiatrist Antoine-Athanase Royer-Collard has been read either as an exemplary case of the influence of philosophy on medicine o...

The Parmenides is, quite possibly, the most enigmatic of Plato's dialogues. The dialogue recounts an almost certainly fictitious conversation between a venerable Parmenides (the Eleatic Monist) and a youthful Socrates, followed by a dizzying array of interconnected arguments presented by Parmenides to a young and compliant interlocutor named “Aristotle” (not the philosopher, but rather a man who became one of the Thirty Tyrants after Athens' surrender to Sparta at the conclusion of the Peloponnesian War). Most commentators agree that Socrates articulates (...) a version of the theory of forms defended by his much older namesake in the dialogues of Plato's middle period, that Parmenides mounts a number of potentially devastating challenges to this theory, and that these challenges are followed by a piece of intellectual “gymnastics” consisting of eight strings of arguments (Deductions) that are in some way designed to help us see how to protect the theory of forms against the challenges. Beyond this, there is precious little scholarly consensus. Commentators disagree about the proper way to reconstruct Parmenides' challenges, about the overall logical structure of the Deductions, about the main subject of the Deductions, about the function of the Deductions in relation to the challenges, and about the final philosophical moral of the dialogue as a whole. (shrink)

It was the general practice until not at all long ago to look at Turner as one of the moderns, if not as one of the founding fathers of modern art. He was a man straddling the fence between two periods, but he was looking forward. In a history of art that marches through time, forever endorsing what is about to be forgotten, wrapping up, as it were, one style to open eagerly the package of the next, such a position (...) is most enviable for, no matter where the times may be going, it is a hallmark of greatness to be ahead of one's time. There were things to be explained, of course, Turner himself, a keen pessimist, did not approved of the future and had little use for the present.1 His love of art was schooled on Reynolds' Discourses, and he remained loyal to them; his poets were Thomson and Pope and, among contemporaries, the rather frigid but delicate Samuel Rogers, a classicist par excellence. Above all, however, Turner looked back to classical antiquity for training and guidance, and for the delectation of his heart. And the poetry of the ancients, such as he could obtain it in translation, was as important to him as their art. What does one do with a declared classicist whom a historicizing hindsight feels compelled to rescue as a man of the future by making him a Romantic? It is a challenge stylistic analysis likes to meet, for it goes beneath what it declares to be the surface of a work of art to find its style, the essence that must conform to the presumed spirit of the age in question. The triumphant result of such studies in depth is a forgone conclusion as much as it is a surprise to the uninitiated. The facade of the Louvre, for example, used to suffice to make it a building in the classical style; it took the acumen of a Wölfflin to prove that it really was "baroque." The more the artist struggled not to be of his time, the more, poor man, he betrayed to the analyst that he was of his time. The Louvre facade stands convicted of being "classicizing-baroque."2 · 1. On Turner's view of the modern art of his time see John Gage, Color in Turner: Poetry and Truth , pp.97-105. On his literary education and taste see the seminal essay by Jerrold Ziff, "Turner on Poetry and Painting, " Studies in Romanticism 3 no. 4 : 193-215. Turner's poetical writings have been edited by Jack Lindsay, The Sunset Ship: The Poems of J.M.W. Turner . For the most recent and also most elegantly practical introduction to the work and life of Turner, see the catalogue of the Turner Exhibition of the Royal Academy and the Tate Gallery, Turner, 1775-1851 . · 2. This is now a commonplace of art historical teaching. See, for example, Gardner’s Art Through the Ages, 6th ed. Horst de la Croix and Richard G. Tansey , p. 632. On the theory behind the application to the particular case, see Heinrich Wölfflin, Principles of Art History, trans. M. D. Hottinger . Philipp Fehl, artist and art historian, is currently preparing a collection of essays, Art and Morality: Studies in the History of the Classical Tradition. He is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. "Farewell to Jokes: The Last Capricci of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting" was published in Summer 1979 in Critical Inquiry. (shrink)

In every chapter of this dissertation---chapters which consider work by John Locke, Lord Shaftesbury, David Hume, Adam Smith, Samuel Richardson, Jane Austen and Sir Joshua Reynolds---I show that the appeal each of these authors makes to the "common sense" of the reader mounts a deeply persuasive appeal to a collective vision of how things ought to be. Within empiricist epistemology, moral philosophy, fiction, and the discourse of art and aesthetics, I find that by assuming a moral consensus that (...) unites that community of readers he or she addresses, each of these writers initiates the reader into such a consensus. A double moment underlies the ideal and description of a common sense: what enables the claim that one's judgment is commonsensical is the assumption that such a judgment would find general assent, general agreement. At the same time, judgments that make these claims model for the community the kind of judgments that ought to find agreement. The idea of community rests on the possibility that each and every agent is capable of an objective assent to its terms and conditions, and that, given this ability, each would arrive at the consensus which supports the community. ;One of the paradoxes of eighteenth-century British empiricist epistemology is that it suggests the clearest views are those offered through the arts. That is, the frame provided by the arts creates a space which abstracts from a common-sense view of things to things "as they really are"---which is, really, as they ought to be. I explain the much noted intensity of the interest in developing a discourse of the aesthetic in the eighteenth century, or the emphasis placed on the idea of a single "standard of taste," as a consequence of the impasse in Locke's empiricist epistemology on the matter of objective judgments. The ability of perceivers to share a clear view of facts and objects, the view of reason and common sense, predicates Locke's project, yet the very possibility of such a view becomes more and more remote as his Essay proceeds. The model of aesthetic judgment which developed in the wake of Locke's Essay prioritized detachment and disinterest, and therefore offered the possibility of a distanced, and therefore objective, point of view, the point of view invoked in the appeal to common sense. (shrink)

Effective Altruism is a movement and a philosophy that has reinvigorated the debate about the nature of beneficence. At base, it is the consistent application of microeconomic principles to beneficent action. The movement has exposed that many forms of giving do little good (or do active harm), but others do tremendous good. Questioning Beneficence uses Effective Altruism as a launchpad to ask hard questions about beneficence more generally. Must we be Effective Altruists, or is Effective Altruism and the ideas driving (...) the movement a mistake? How much should we give and-if anything-how should we give it? What are the respective roles of different kinds of institutions? Is charity anti-democratic and do billionaire philanthropists have too much power? Is Effective Altruism just utilitarianism in disguise? Questioning Beneficence is written by four philosophers, each with distinct points of view. It introduces a new standard for debating ideas in philosophy as each author poses and answers three questions and each of his three co-authors responds to those questions in turn. Finally, the first author replies to his co-authors' responses. Throughout the book, there is a spirit of curiosity, intellectual risk taking, and truth-seeking, rather than point-scoring and one-upsmanship. Questioning Beneficence demonstrates what open-minded, real dialogue over an important issue can be at its very best. (shrink)

In the Protagoras, Socrates appears to affirm and defend a paradoxical doctrine: the unity of virtue. Plato scholars do not agree on how the doctrine should be understood. Some, following Vlastos (1972), take Socrates to hold that the virtues are biconditionally related, i.e. that anyone who has one of the virtues has them all. Others, following Penner (1973), take Socrates’ position to be that the names of the virtues all refer to the same thing, namely virtue. In this paper, I (...) argue that both of these interpretations are mistaken: the main thesis of the Protagoras is, very simply, that each of the virtues is a kind of knowledge or wisdom. (shrink)

Using the taking of the knee by the England men's football team at Euro 2020, this paper looks at political reactions to anti-racist protest. The taking of a knee in other sporting contexts has been met by considerable opprobrium from right-wing politicians and been weaponised as part of a reactionary ‘culture war’ against calls for action to address systemic racial discrimination. This paper offers an analysis of Conservative politicians’ responses to the England players’ actions and to the subsequent negative reactions (...) of fans. After defining soft hate speech and conceptualising booing as a strategy of denial of racism, the analysis reveals three main discursive strategies: delegitimising the players’ protests by linking it to Black Lives Matter; agreeing with the goals of the protests but not the means; and calculated ambivalence towards those who booed. I then show how this allowing of soft hate speech was juxtaposed to a condemnation of hard hate speech. I conclude, firstly, that this relies on a thin understanding of racism as a discursive repertoire rather than as a system of power, and secondly, that the ambivalence towards the booing acted as a gateway for racism. (shrink)

Despite a superficial similarity in circumstance, the dynamics of the judicial process of contract interpretation are not equivalent to the circumstances giving rise to the Primacy Dilemma. The Primacy Dilemma involves two parties; the judicial process involves a third: the court. This distinction is critical for while Wittgenstein's exposé of the Primacy Dilemma as illusion does not require that centuries of refinements to theories of contract interpretation be scrapped, it does require an abandonment of the ideal that courts “do not (...) and cannot make contracts; courts merely enforce agreements that the parties themselves have reached.”. (shrink)

O Parmênides de Platão é um diálogo notoriamente desafiador. Para apresentar uma interpretação completamente satisfatória dele, cada argumento precisa ser reconstruído em seus próprios termos e se todas as reconstruções forem acuradas, as interconexões lógicas entre os argumentos de ambas as partes do diálogo devem revelar a mensagem geral do Parmênides. Aqui gostaria de resumir minha interpretação e considerar algumas importantes objeções e alternativas a ela, particularmente como estas aparecem nos trabalhos de Constance Meinwald e Mary Louise Gill. Quero explicar (...) por que a interpretação de Meinwald é significativamente menos convincente do que a minha e, como Gill e eu chegamos a conclusões semelhantes, quero destacar as diferenças importantes entre nossas interpretações. (shrink)

This paper focuses on how African national leaders can make global democracy relevant to sustainable development in Africa. Seeing the problem of sustainable development in Africa from the structural and functional angles, this paper begins with an introduction and a clarification of terms such as ‘democracy’, ‘globalization’ and ‘development’. It then analyzes the underlying foundations of global democracy and its implications to cultures of the African peoples. This paper tries to place the impact of global democracy on Africa in perspectives (...) by weighing the pros and cons of global democracy. Tracing the genesis of functional and developmental problems in the post-colonial Africa to structural problems occasioned by Africa’s colonial experience, this paper however strongly contends that the main problem militating against sustainable development in the post-colonial Africa is bad politics and mismanagement of national resources. African peoples need to be taught that some of the African national leaders are responsible for the bad condition of underdevelopment in the global period because of bad political governance ranging from the inability of African leaders to calculate all the relevant factors in the making of their policies as well as failing to provide effective technologies and competent staff to deal with rigging of elections and other electoral problems in addition to corruption and mismanagement of public funds. There is no way for the African nations to survive without production of goods and services in terms of farming, agriculture and diversification of their revenue base. National leaders of the various African nations cannot avoid policies that enable the industrialization of African nations through the provision of the basic infrastructures and viable amenities for social, economic, and political development. They should however be wary of debt traps of International Monetary Fund and World Bank because borrowing nations are often given difficult conditions that often make it difficult for them to obtain the desired benefits in terms of sustainable development. The study recommends that for sustainable development to take place in Africa there is need for national leaders to embrace good political governance that places the people at the centre of development to be manifested in guileless electoral process and effective management of the resources. This paper contends that the realization of sustainable development in African nations requires moral, political, and economic integration. It concludes with perspectives for further research on the issue. (shrink)

Este estudo visa a apresentar e analisar a Carta XXXVIII, de 1º de outubro de 1666, escrita por Espinosa. De conteúdo exclusivamente matemático, seu texto responde a uma questão de probabilidade aplicada a jogos de apostas em que é preciso preservar, para todos os jogadores, a mesma chance de ganhar. Para isso, apresentaremos o contexto histórico e exporemos detalhadamente o uso e o sentido da terminologia empregada por Espinosa ao longo de suas explicações. Subsidiariamente, em apêndice, fornecemos, de maneira espelhada, (...) o original holandês da carta e nossa tradução para o português. (shrink)

Este artigo compõe uma biografia de Henry Oldenburg, apresentando um retrato, na concretude de sua vida, mais ou menos fiel de um dos principais missivistas de Espinosa. Da recolha bibliográfica, quisemos responder à pergunta que define parte importante do pano de fundo da mais duradoura e prolífica troca de cartas com o filósofo holandês: quem é Oldenburg? Sobretudo, foi preciso apresentar, como ponto de partida, a humanidade de tão importante correspondente, a fim de evitar, na leitura das cartas, que ele (...) se tornasse um mero indivíduo sem face a quem Espinosa deu algumas frases. (shrink)

This article presents an analysis of James Benning's film, BNSF (2013). It argues that the film comprises a landscape rendered in such a way that the temporal aspects of the processes, both cultural and natural, of which it is composed are brought forth. The article also asserts that, by relating a world that unfolds with a measure of contingency, the film not only manifests the inherent inadequacy of representation, but also it draws attention to the efficacy of the world in (...) the making of its moving image. Finally, the article demonstrates that the qualities of the world delimited by the film impel the viewer to attempt to envision facts of nature that greatly outsize the horizon of her human point of view. (shrink)