In lieu of an abstract, here is a brief excerpt of the content:Barbarous On Either Side: The New York Blues Of Mr. Sammler’s PlanetStanley CrouchThere are no two ways about virtue, my dear student; it either is, or it is not. Talk of doing penance for your sins! It is a nice system of business, when you pay for your crime by an act of contrition! You seduce a woman that you may set your foot on such and such a (...) rung of the social ladder; you sow dissension among the children of a family; you descend, in short, to every base action that can be committed at home or abroad, to gain your own ends for you own pleasure or profit.... That man with yellow gloves and a golden tongue commits many a murder; he sheds no blood, but he drains his victims as surely; a desperado forces open a door with a crowbar, dark deeds both of them! You yourself will do every one of the things that I suggested to you today, bar the bloodshed. Do you believe there is any absolute standard in this world?—Vautrin, Père GoriotWe are now mightily perplexed by the vulgarity and the brutal appetites of our culture, which Mr. Sammler sees so, so clearly, startled from page to page and in passage after passage of Saul Bellow’s 1970 novel. The terrible children of our day, the worst of our politicians, and the rampant sleaze that slides up and down the classes, across the races and religions, from the cynical students to the unrepentingly jaded and old, can be traced back to the elements that are so alarming to the protagonist of Mr. Sammler’s Planet. As a well-educated man who has smelled the molten breath and felt the bloody teeth of European fascism, Mr. Sammler is obsessed with understanding what makes or breaks a society, what causes a civilization to embrace ruthlessness as the [End Page 89] best way to realize its ambitions and handle its fears. A veteran of World War II, he has seen killing and he has done it himself, which makes him a man for whom none of his questions exists in a speculative air unfouled by the odor of murder. His intellectual ponderings are thereby part of a drama in which he has seen the lowest the Western world has to offer. This lack of innocence makes him a hero and a thinker haunted by his past and startled to uneasiness by the present. Oh, yes: Artur Sammler knows firsthand how quickly the metamorphosis from the refined to the smugly savage can take place. “Like many people who had seen the world collapse once, Mr. Sammler entertained the possibility it might collapse twice.”The very conception of Mr. Sammler is expressive of Bellow’s gift for bringing together the intellect, the passion, the spirit, and the flesh. The physical responses to stimulation are rendered with the same attention given to all of the many things that Mr. Sammler contemplates as he tries to get a grip on New York, America’s financial capital and the pinnacle of the nation’s culture. Mr. Sammler’s ideas are counterpointed by feeling and sensuality to such a degree that the thoughts are themselves elements of emotion, which is something only our finest writers can bring off, the literary condition of character so complete that every aspect of consciousness takes form within the container of a body equal in the life of its senses to the spirit it carries. We get the feeling of a human being in repose, in grief, in rage, in self-protective contemplation, in unsparing self-examination, in attentive motion through Manhattan, on foot, in public transportation, in chauffeured limousine.New York’s power over the country was central to why it was chosen as the place of action. Mr. Sammler could not be in a better setting if he were to wrestle with the identity of the United States. One part of it obviously has to do with the character’s Jewishness. Manhattan and Hollywood are the two places where Jews have made their deepest imprints on the country. Unlike the dream factory of Hollywood, New York is the city... (shrink)

In *Here and There*, Stanley Cavell suggests that music, like speech, implicates the listener, so that our descriptions of music "are to be thought of not as discoveries but as impressions and assignments of meaning." Such impressions express what "makes an impression upon us," "what truly matters to us." Moreover, this aspect of music "is itself more revolutionary than ... any political event of which it could be said to form a part." I offer one indication of that significance (...) by considering a recent challenge to an old claim about the relation between jazz and democracy. Stanley Crouch claims that jazz practice is an emblem of democracy, while Benjamin Givan observes the undemocratic, hierarchical way that jazz musicians work together. But both positions rest on a limited notion of "democracy." I contrast it to the tradition in political thought that requires each citizen to find their own voice if they're to acquire the ability to govern themselves. Consequently, a better emblem of jazz's democratic advance lies in the challenge it presents to the attentive listener. Jazz listening is increasingly characterized by a learned culture of hearing what isn't played, hearing allusions, hearing unspoken interplay. The nature of this "hearing between the lines" parallels the tradition of esoteric writing in the history of political thought. It suggests that jazz's democratic importance is found in the listener's willingness to give voice to what she hears, not knowing whether her experience is shared by others or whether it singles her out, possibly for skepticism or ridicule. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Trains Of Thought And AfterthoughtsJohn EllisWhen I think about how this conference has gone, it’s hard not to begin with the fact that so many came. “We happy few” turned out not to be so few after all.* While I cannot be the most objective judge of a conference that I spent so much time helping to plan, it still seems to me that being able to listen, on (...) two successive evenings, to talks of the quality of Bernard Knox’s and Stanley Crouch’s was a rare treat. Stanley’s talk had the effect that all first-rate criticism must have; it made those who heard it want to rush out and get the book to read or reread it. And I shall long remember Bernard’s anecdote about Aristophanes being subpoenaed, which was just about the funniest and most instructive story I’ve ever heard. Singling out any of the shorter papers is unfair, for I enjoyed all of them, but I have to say that poetry as a genre would not be lagging behind the other genres (fiction and drama) in our age if there were more people who could read poetry like Rosanna Warren.Rather than commenting on how things turned out, I should tell you a little of how we wanted things to turn out, so that you can get your own sense of the relation between our intent and what actually happened. The one stark fact that faced everyone involved in planning this conference was that it was easy to say what we didn’t want to do—we could see examples of that everywhere—but deciding how to chart a new course was an altogether different question. There was one shape [End Page 197] we knew we didn’t want, but there were all kinds of possible shapes we could have chosen to replace it. The program as you heard it was in fact the result of many different trains of thought.Take the panel on poets and critics; it might seem just a nice invention, but was actually the result of a studied train of thought. The most visible sign of what has gone wrong with academic criticism is that it is now largely written for and read by other academic critics. Academic criticism in the process has lost touch with the wider world of readers and writers. Academic critical essays have become a game played on campuses in an increasingly isolated and parochial world where they are heavily involved in matters of professional hierarchy and the place of individuals within it, but in very little else in the real world. The “poets and critics” panel was, in part, an attempt to begin to bring academic criticism back to the reality of readers and writers, to subordinate the unquestionable cleverness and intellectual ingenuity of academics to a common sense and realism that recently seem to have been in somewhat short supply.The panel on how to read a book results from a quite different train of thought. Academic criticism has now assumed a forbidding verbal complexity. A highly elaborate verbal superstructure covers over the essentials of the situation—literature and its readers—to the extent that it becomes a barrier that obscures what is real in it. This panel was in part an attempt to cut through pseudo-complexity and to return to the basic elements of the situation. I might well have said “the basic theory of the situation,” since I’m always reluctant to concede theory to people who have no exclusive claim to it (as they imagine) but merely misuse it.1The notion of “back to basics” really requires no justification. There is a charming story of a man who has played golf all his life, but each year goes back to his first teacher and says to him quite simply: teach me how to play golf. The teacher instructs him as he does anyone else who has never played the game, beginning with how to hold a club, how to stand, and so on. This might seem a rather obsessive habit—unless you know who this man is. One has to assume that this... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

This handsome new edition of Stanley Cavell's landmark text, first published 20 years ago, provides a new preface that discusses the reception and influence of his work, which occupies a unique niche between philosophy and literary studies.

"As the child of refugees of World War II Europe and a renowned philosopher and scholar of propaganda, Jason Stanley has a deep understanding of how democratic societies can be vulnerable to fascism: Nations don't have to be fascist to suffer from fascist politics. In fact, fascism's roots have been present in the United States for more than a century. Alarmed by the pervasive rise of fascist tactics both at home and around the globe, Stanley focuses here on (...) the structures that unite them, laying out and analyzing the ten pillars of fascist politics--the language and beliefs that separate people into an 'us' and a 'them.' He knits together reflections on history, philosophy, sociology, and critical race theory with stories from contemporary Hungary, Poland, India, Myanmar, and the United States, among other nations. He makes clear the immense danger of underestimating the cumulative power of these tactics, which include exploiting a mythic version of a nation's past; propaganda that twists the language of democratic ideals against themselves; anti-intellectualism directed against universities and experts; law and order politics predicated on the assumption that members of minority groups are criminals; and fierce attacks on labor groups and welfare. These mechanisms all build on one another, creating and reinforcing divisions and shaping a society vulnerable to the appeals of authoritarian leadership. By uncovering disturbing patterns that are as prevalent today as ever, Stanley reveals that the stuff of politics--charged by rhetoric and myth--can quickly become policy and reality. Only by recognizing fascists politics, he argues, may we resist its most harmful effects and return to democratic ideals."--Jacket. (shrink)

Eating disorders are mental illnesses that can have a significant and persistent physical impact, especially for those who are not treated early in their disease trajectory. Although many persons w...

Complex demonstrative phrases, in English, are phrases such as ‘that woman in the department’ and ‘that car on the corner’. They are of particular interest to philosophers for two related reasons. The first involves the problem of intentionality. If there are phrases that are candidates for “latching directly onto the world,” they are such phrases, and their “simple” counterparts, as in the occurrences of ‘that’ in ‘that is nice’. As a result, philosophers interested in intentionality, from the sense-data theorists to (...) contemporary philosophers of mind, have devoted considerable attention to the question of how a demonstrative thought links to its object. The second reason involves issues in semantics and the philosophy of language. In the course of investigations into the model theory for modal logic in the 1950s and 1960s, philosophers recognized that the simplest way to treat terms was as modally rigid, namely as designating their actual designations relative to any possible world in which they existed, and nothing else in other worlds. It was soon recognized that this semantic property could be elegantly explained by the assumption that the semantics of singular terms reflects the role of singular terms in linking representations directly to the world. If the semantic contribution of a singular term to a thought is simply the object it denotes, and the thought is the object of modal evaluation, then the modal rigidity of the class of terms falls out as a consequence. Demonstrative phrases, both simple and complex, have always been taken to be among the paradigms for this picture of reference, which has come to be known as “the direct reference” model. (shrink)

He had made it all up, he said, and gloated that his "prank" proved that sociologists and humanists who spoke of science as a "social construction" didn't know what they were talking about. Acknowledging the ethical issues raised by his deception, Professor Sokal declared it justified by the importance of the truths he was defending from postmodernist attack: "There is a world; its properties are not merely social constructions; facts and evidence do matter. What sane person would contend otherwise?".

Our intuitions about whether someone knows that p vary even fixing the intuitively epistemic features of that person’s situation. Sometimes they vary with features of our own situation, and sometimes they vary with features of the putative knower’s situation. If the putative knower is in a risky situation and her belief that p is pivotal in achieving a positive outcome of one of the actions available to her, or avoiding a negative one, we often feel she must be in a (...) particularly good epistemic position to know that p. If however she is not in a risky situation, we tend to be considerably more permissive in our attributions of knowledge. Our intuitions about when someone knows that p and when she doesn’t also fluctuate with what is salient, either to the putative knower or ourselves. If someone claims to know where their car is, and I raise the possibility that it has been stolen, she may retract her claim to know. Which of these tendencies, if any, reveal something about the nature of our epistemic terms or concepts? (shrink)

One of the best known business ethics resources in Britain is the Institute of Business Ethics, which this month celebrates its tenth anniversary. In wishing the Institute many more years of valuable service to the UK business community, we are indebted to its Director, Stanley Kiaer, for this chronicle of its first decade of activity. The Institute is situated at 12 Palace Street, London SW1E 5JA; tel 171 931 0495; fax 171 821 5819.

My purposes in this paper are to explain the constitutive-regulative distinction as set out by Kant in the Dialectic and Methodology, and to note its reappearance in contemporary philosophy.

In lieu of an abstract, here is a brief excerpt of the content:74 HUME'S DIALOGUES ON EVIL Only two sections of Hume's Dialogues Concerning Natural Religion are concerned with the topic of the benevolence of the designer of the world (Parts X and XI), and the conclusion reached is stated by Philo in an unambiguous manner: The true conclusion is, that the original source of all things is entirely indifferent to all these principles, and has no more regard to good (...) above ill than to heat above cold, or to drought above moisture, or to light above heavy. (D 212) In light of the fact that much of the Dialogues is concerned with setting out sceptical or Pyrrhonian objections to positions in natural theology which reveal our ignorance in this area, it is important for an understanding of Parts X and XI to ask whether we are meant to take Philo's conclusion seriously; that is, does Hume intend Philo's conclusion in Part XI to be a truth in natural theology? Nelson Pike answers this negatively: Philo claims that there is an 'original Source of all things' and that this source is indifferent with respect to matters of good and evil. He pretends to be inferring this conclusion from observed data. This represents a departure from Philo's much professed skepticism in the Dialogues.... I think the center of Philo's remarks in this passage must be located in their skeptical rather than their metaphysical import. Philo has proposed a hypothesis which is counter to the one offered by Cleanthes. And he claims that this hypothesis is the 'true conclusion' to be drawn from the observed data. But the point is not, I think, that Philo's new hypothesis is true, or even probable. The conclusion is, rather, that the hypothesis advanced by Cleanthes is false, or very 75 improbable. when claiming that evil in the world supports a hypothesis which is counter to the one offered by Cleanthes, I think Philo simply means to be calling attention to the fact that evil in the world provides evidence against cleanthes' theological position. It is true that at certain points in the Dialogues Philo does profess to be a sceptic (Pyrrhonian), and he often attempts to show Cleanthes that his hypothesis is false by generating an hypothesis from the available data which is as plausible as Cleanthes' hypothesis (e.g., Part IV, where they debate Cleanthes' view that God is external to the world which He has designed), or which has greater plausibility than Cleanthes' hypothesis (e.g., Parts VI and VII where Philo argues against Cleanthes' claim that the available data support the hypothesis of an intelligent designer for the world). However, whenever Philo proceeds in this manner, he makes it clear that he has no hypothesis on the matter under discussion (e.g., D 164) which he is willing to defend, and that he has proceeded in this manner, not to argue for a position — he maintains that the available data are not adequate to do so — but to argue against the position Cleanthes is defending (see, for example, D 177). In fact, at one stage in the discussion, Philo urges against embracing any religious system, because of the victory which awaits the sceptic: All religious systems, it is confessed, are subject to great and insuperable difficulties. Each disputant triumphs in his turn; while he carries on an offensive war, and exposes the absurdities, barbarities, and pernicious tenets of his antagonist. But all of them, on the whole, prepare a complete triumph for the sceptic; who tells them, that no system ought ever to be embraced with 76 regard to such subjects: For this plain reason, that no absurdity ought ever to be assented to with regard to any subject. A total suspense of judgment is here our only reasonable resource. (D 186-187) This passage, which appears toward the end of Part VIII, is reminiscent of the point Philo made in Part I, when he warned of arguments which "run wide of common life." In the case of such arguments, "the most refined scepticism comes to be upon a footing with them, and is able to oppose and counterbalance them. The one has no more weight than... (shrink)

Thirty-three physicians, bioethicists, and medical economists from ten different countries met at Lawrence University, Appleton, Wisconsin, to create The Appleton Consensus: International Guidelines for Decisions to Forego Medical Treatment. The guidelines deal with four specific decision-making circumstances: 1. Five guidelines were created for decisions involving competent patients or patients who have executed an advance directive before becoming incompetent, and those guidelines fell into three categories. 2. Thirteen guidelines were created for decisions involving patients who were once competent, but are not (...) now competent, who have not executed an advance directive. 3. Seven guidelines were created for decisions involving patients who are not now and never have been competent, for whom 'no substituted judgement' can be rendered. 4. Eleven guidelines were created for decisions involving the scarcity of medical resources, which exists in all communities. Five concepts were identified as being critical in the establishment of priorities, given the reality of scarce health resources (1). The term 'physician' is used in the American sense, synonymous with 'medical practitioner'. (shrink)

The paradox that individually rational actions collectively can lead to irrational outcomes is exemplified in human appropriation of a class of goods known as "common-pool resources" : natural or humanly created resource systems which are large enough to make it costly to exclude potential beneficiaries. Appropriations of common-pool resources for private use tend toward abusive practices that lead to the loss of the resource in question: the tragedy of thecommons. Prescriptions for escape from tragedy have involved two institutions, each applied (...) largely in isolation from the other: private markets and government coercion . Yet examples exist of local institutions that have utilized mixtures of public and private practices and have survived for hundreds of years.Two problems further exacerbate efforts to avoid the tragic nature of common-pool resource use. One, given the current level of knowledge, the role of the resource is not recognized for what it is. It is, thus, in a fundamental, epistemological sense invisible. Two, if the resource is recognized, it may not be considered scarce, thus placing it outside the scrutiny of economic theory. Both types of error are addressed by the emerging field of ecological economics.This paper discusses common pool resources, locates the ambiguities that make their identification difficult, and argues that avoidance of a CPR loss is inadequately addressed by sharply separated market and state institutions. When the resource is recognized for what it is, a common-pool good, which is subject to overexploitation, it may be possible to identify creative combinations of public and private institutions that can combine to save that resource. Disparate examples of self-organized enterprises, public/private utilities, and "green" taxes, to name a few, provide empirical content for developing theories of self-organized collective action. (shrink)

In many institutions of higher learning, questions are being added to standardized student course evaluation forms to assess the instructor's racism, sexism, and sensitivity to multicultural issues. In this article, 1 review data from both an experimental simulation and actual course evaluation submissions to show that such information is subject to two basic psychological errors. The first is the fundamental attribution error, which reflects the students inability to separate the message from the messenger when dealing with individual difference data that (...) may contain conclusions that are politically unpopular (such as the evidence for race or sex differences). The second is the halo effect, where negative opinions about an unpopular instructor who does not teach well are likely to be generalized and result in the attribution of racist and sexist views to that individual. (shrink)

“Reason,” said Lao Tze some twenty five hundred years ago, “is of all things the emptiest. Yet its use is inexhaustible.” With equal justice, he might have said the same of language. But Lao Tze, whose profound metaphysical probing appeared to carry him beyond the reach of linguistic aid, was led to insist that “Those who know do not speak; those who speak do not know.” Yet the “Old Philosopher,” as he is known to the Chinese, might be said to (...) admit, by the very implications of his insistence, that language can exercise the greatest influence on thought, if only, in his viewpoint, to nullify it. Today we acknowledge this influence by reversing the great metaphysician's statement, those without speech in some form or other cannot know. (shrink)

This paper considers some of the potential implications for an interest in health of the basic fact that to live is to have been given something in advance. It is suggested that various thinkers such as Alfred Adler, Sartre, and Heidegger are unable to develop a positive attitude toward this fact and therefore are not logically in a position to be committed to health. An alternative to all of these is found in Hannah Arendt's notion that activity is an essential (...) part of life. Following her lead, the paper moves on to a consideration of various forms of human activity, labor, work, and finally action both in terms of how they constitute an advance over the givens of life and how they contribute to health. (shrink)

The target article's use of core concepts is confused and excessively broad. Two main types of experiences have been described in relation to shamanism: magical flight and mediumship/possession. The first refers to visual and remembered experiences of events in other realms, the second to embodied experiences of ceding mental control and personality to a preternatural entity. These experiences grossly correspond to two main experience modalities exhibited by highly hypnotizable individuals in a secular setting.

Wilfred Sieg and Stanley S. Wainer. Program Transformation and Proof Transformation.

In lieu of an abstract, here is a brief excerpt of the content:155. REMARKS ON P. S. WADIA" S 'PHILO CONFOUNDED' In responding to Professor Wadia's paper in McGiIl Hume Studies, I will attempt to show why his analysis of the illustrative analogies in Part III of the Dialogues fails to capture what it is that Cleanthes sought to accomplish through them. On p. 285, Wadia begins his discussion of Part III and admits to being bewildered because one expects Cleanthes (...) to confine his illustrations to familiar things in the world around him. One wonders, however, why Wadia thinks the ilustrations should be so confined, since it is precisely matters such as these for which the Design Argument is attempting to account through the hypothesis of an intelligent external artificer - an hypothesis which Philo refuses to accept in this regard. Contrary to what Wadia maintains, there is one occasion in Part III where Cleanthes' defense does have recourse to natural phenomena. On p. 154 he asks Philo to consider, anatomise the eye, and behold the male and female of each species, the correspondence of their parts and instincts, their passions and whole course of life before and after generation to be persuaded that the most obvious conclusion surely is in favour of design! Cleanthes explains Philo's resistance to this most obvious conclusion as due to too luxuriant a fertility, which suppresses your natural good sense, by a profusion of unnecessary scruples and objections. (DNR155) On two occasions in Part III-in the first paragraph and once again toward the end of the seventh - Cleanthes comments on Philo's 'blindness' in rejecting the inference from natural phenomena to an intelligent cause of design. Given this assessment of Philo by Cleanthes, the employment of imaginary examples is easily appreciated inasmuch as actual examples have been impotent in convincing Philo. Just how these imaginary examples are relevant to his position has yet to be discussed; but the use of imaginary illustrations is not bewildering. 156. In setting the stage for his central claim on Cleanthes* intended use of his illustrations, Wadia seriously misrepresents the disagreement between Philo and Cleanthes. At one point (p. 286) he takes Philo to be arguing that empirical evidence regarding an intelligent designer is actually inconceivable. But, in fact, this was not Philo's position in Part II at all. Philo finds it easy indeed to conceive of the empirical evidence required to support the conclusion of the Design Argument, namely, the world must sufficiently resemble some thing which is known to be intelligently contrived to enable us to classify it as a further instance of that kind of thing. If this could be done, the principle 'like effects prove like causes' could be used to infer an intelligent cause for the design of the world. Philo, of course, denies that the required resemblance can be found. However, as I have shown, he never denies that it is conceivable. One page earlier, Wadia offers an account of Philo's position in Part II which is also incorrect. He argues that since, for Philo, an inference to the existence of an intelligent designer of the world requires having seen worlds formed under our eyes, this claim amounts to saying that it is impossible for there to be empirical evidence relevant to the conclusion of the Design Argument, because no one can satisfy this condition. Philo's argument in Part II, however, is not this one. He begins by considering how the world must present itself to justify reasoning by analogy to an intelligent designer. And it is only because the required resemblances between the world and objects of human contrivance are not present, that he offers 'seeing worlds formed under our eyes' as a condition which must be satisfied if the inference to an intelligent designer is to be acceptable. Now since Philo himself entertains possible states of the world which, if they existed, would constitute evidence for an intelligent designer, Wadia is mistaken in attributing "the impossibility claim* 157. to Philo. For Wadia to argue successfully regarding Philo's adoption of 'the impossibility claim' he must show that Philo has argues that it is impossible for the world to resemble objects of human contrivance - a position which Philo never... (shrink)