In Bayesian belief revision a Bayesian agent revises his prior belief by conditionalizing the prior on some evidence using Bayes’ rule. We define a hierarchy of modal logics that capture the logical features of Bayesian belief revision. Elements in the hierarchy are distinguished by the cardinality of the set of elementary propositions on which the agent’s prior is defined. Inclusions among the modal logics in the hierarchy are determined. By linking the modal logics in the hierarchy to the strongest modal (...) companion of Medvedev’s logic of finite problems it is shown that the modal logic of belief revision determined by probabilities on a finite set of elementary propositions is not finitely axiomatizable. (shrink)

In Bayesian belief revision a Bayesian agent revises his prior belief by conditionalizing the prior on some evidence using Bayes’ rule. We define a hierarchy of modal logics that capture the logical features of Bayesian belief revision. Elements in the hierarchy are distinguished by the cardinality of the set of elementary propositions on which the agent’s prior is defined. Inclusions among the modal logics in the hierarchy are determined. By linking the modal logics in the hierarchy to the strongest modal (...) companion of Medvedev’s logic of finite problems it is shown that the modal logic of belief revision determined by probabilities on a finite set of elementary propositions is not finitely axiomatizable. (shrink)

This paper traces the intellectual development of the workplace privacy construct in the course of American thinking. The role of technological development in this process is examined, particularly in regard to the information gathering/dissemination dilemmas faced by employers and employees alike. The paper concludes with some preliminary considerations toward a theory of workplace privacy.

Ethical behavior — the conscious attempt to act in accordance with an individually-owned morality — is the product of an advanced stage of the maturing process. Three models of ethical growth derived from research in human development are applied to issues of business ethics.

Domain constraint, the requirement that analogues be selected from "the same category," inheres in the popular saying "you can't compare apples and oranges" and the textbook principle "the greater the number of shared properties, the stronger the argument from analogy." I identify roles of domains in biological, linguistic, and legal analogy, supporting the account of law with a computer word search of judicial decisions. I argue that the category treatments within these disciplines cannot be exported to general informal logic, where (...) the relevance of properties, not their number, must be the logically prior criterion for evaluating analogical arguments. (shrink)

Science fiction is often held up as a particularly philosophical genre. For, beyond actualising mind-experiment-like fantasies, science fiction films also commonly toy with speculative ideas, or else engineer encounters with the strange and unknown. Denis Villeneuve's Arrival is a contemporary science fiction film that does exactly this, by introducing Lovecraft-esque tentacular aliens whose arrival on Earth heralds in a novel, but ultimately paralysing, inhuman perspective on the nature of time and reality. This article shows how this cerebral film invites viewers (...) to confront a counterintuitive model of time that at once recalls and reposes what Gilles Deleuze called a “third synthesis” of time, and that which J. M. E. McTaggart named the a-temporal “C series” of “unreal” time. We finally suggest that Arrival's a-temporal conception of the future as having already happened can function as a key to understanding the fate of humanity as a whole as we pass from the anthropocene, in which humans have... (shrink)

The growing interest in lifestyle campaigns as a means to promote public health has increased steadily during the past several decades. Governments, national health organizations, NGOs, and wealthy donors are collaborating with media professionals and academic scholars to address the pressing health issues of the 21st century. To counter the potential negative influences of hundreds of lifestyle advertising messages that media consumers are exposed to on a daily basis, health communication professionals are designing more sophisticated campaigns that blend beneficial health (...) information with various forms of entertainment media. This article discusses important ethical considerations raised by health professionals and media scholars and considers lifestyle campaigns within the context of competing ethical approaches to social change. A heuristic model is presented that facilitates a communitarian ethical approach to lifestyle campaigns, examining four important groups of stakeholders. Specific recommendations for future lifestyle campaigns based on this model are proposed. (shrink)

Drawing upon the work of various critical race theorists, including Frantz Fanon, Kevin Quashie, Hortense J. Spillers, Calvin L. Warren and Sylvia Wynter, this article suggests that if Blackness has historically been, and continues to be, cast outside of being and into being, or what Wynter terms désêtre, then for Blackness to give expression to itself and/or to prove (or improvise) its “aliveness” is a necessarily “poetic” process, given that poetry/ poiesis is the bringing into being of that which previously (...) did not exist. Looking at a range of films, including Arthur Jafa’s Dreams are colder than Death (USA, 2014) and Love Is the Message, The Message Is Death (USA, 2016), Barry Jenkins’s The Gaze (USA, 2021) and Paige Taul’s I am (USA, 2017), the article considers this cinematic poiesis in the light of Martin Heidegger’s philosophy of poetry, drawing out the structuring antiblackness at work in the latter and in modernity more generally, before suggesting that cinematically to present Blackness in a loving fashion/to love Blackness through film is what Denise Ferreira da Silva might term a radical and “poethical” gesture, using poetry to decolonise our white supremacist world. (shrink)

In this article I propose the concept of ‘non-cinema’. The term points to that which is excluded from cinema, and accordingly I seek to explore the various reasons for these exclusions, in particular the political/ideological ones, together with how these exclusions are manifested on an aesthetic level. Instead of André Bazin's founding question regarding what is cinema, therefore, this essay asks what cinema is not – and why. This question is of redoubled importance in an age of technological change: not (...) only are nearly all films now not made using the traditional equipment of filmmaking (analogue cameras, linear editing systems, polyester film stock), but nor do they get exhibited in traditional theatrical venues (instead circulating on DVD and related formats, and online). On a related note, increasing numbers of filmmakers actively are moving away from feature filmmaking, e.g. into television. The essay focuses in particular on ‘non-cinematic’ works by Philippine director Khavn de la Cruz and American director Giuseppe Andrews. Formally, I argue that their films deliberately embrace that which is perceived as non-cinematic in order to put forward what Argentine philosopher Enrique Dussel might define as a ‘barbarian’ film-philosophical vision of the world, which is reminiscent of Antonio Negri's concept of multitude, and which also has an ethical dimension in that it proposes the inclusion of the overlooked and the dispossessed, and of the darkness that necessarily accompanies the light. (shrink)

This essay examines Gaspar Noë's film, Enter the Void, in light of the work of both Gilles Deleuze and Alain Badiou. Arguing that the film shows to viewers the 'void' that separates subjects from objects, the essay also considers Noë's film in the light of drug literature and the altered states induced by cinema and describe by Anna Powell. Finally, the essay proposes that Enter the Void is a work of 'unbecoming' cinema, which in turn points to expansion of cinematic (...) form through the use of digital technologies. (shrink)

This groundbreaking work investigates how the various pictures of creation found in Scripture helped shape the ancient faith community's moral character. Bringing together the fields of biblical studies and ethics, William Brown demonstrates how certain creation traditions of the Old and New Testaments were developed from the community's moral imagination for the purpose of forming and preserving both Israel's and the early church's identity in the world.

The relationship of workers to management has traditionally been one of control. However, the introduction of increasingly sophisticated technology as a means of supervision in the modern workplace has dramatically altered the contours of this relationship, giving workers much less privacy and making workers much more visible than previously possible. The purpose of this paper is to examine the current state of technological control of workers and how it has altered the relationship of worker to organization, through the impact upon (...) self as perceived by the worker. (shrink)

This article draws upon the work of Sylvia Wynter and W.E.B. Du Bois in order to propose that film-philosophy has historically not paid due attention to race. Drawing upon the former’s concept of “the sociogenic principle”, as well as the latter’s theories of “the colour line” and “double-consciousness”, the article argues that modernity has been constructed coterminously with whiteness, as well as a “photographic/cinematographic” logic whereby Blackness is cast into a “negative” realm. That is, while modernity might be white, more (...) specifically it is antiblack. For film-philosophy ethically to evolve, then, it must not just pursue a dewesternising turn to the global, as suggested by various scholars, but it must also reckon with antiblackness and the role that cinema has played in constructing and reaffirming a white (and therefore antiblack) world. By this token, recent engagements with objects and animals similarly do not often consider race as a structuring concept of and for the human, in distinction to which both objects and animals supposedly exist. Indeed, one might even construe the contemporary emphasis on objects and animals among primarily white western scholars as a refusal to consider race with the critical rigour that it merits. This article goes some way towards introducing such critical rigour as developed among scholars in critical race theory, in particular Black Studies, especially Du Bois and Wynter; and it proposes that the application of such work to film will radically alter how we consider the medium. In this way, the article draws out the (white) colour of film-philosophy, and argues for a racially conscious/conscientious film-philosophy that will thus be worthy of the name. (shrink)

Each contributor to this book has used personal experience as the basis from which to frame his individual sociological perspectives. Because they have personalized their work, their accounts are real, and recognizable as having come from 'real' persons, about 'real' experiences. There are no objectively-distanced disembodied third person entities in these accounts. These writers are actual people whose stories will make you laugh, cry, think, and want to know more.

This essay analyses the role played by okra in The Underground Railroad, together with how it functions in relation to the soil that sustains it and which allows it to grow. I argue that okra represents an otherwise lost African past for both protagonist Cora and for the show in general and that this transplanted plant, similar to the transplanted Africans who endured the Middle Passage on the way to ‘New World’ slave plantations, survives by going through ‘black holes’, something (...) that is not only linked poetically to the established trope of the otherwise absent Black mother but which also finds support from physics, where wormholes (similar to the holes created by worms in the soil) take us through black holes and into new worlds, realities or dimensions. This is reflected in Jenkins’s series (as well as Whitehead’s novel) by the titular Underground Railroad itself, which sees Cora and others disappear underground only to reappear in new states (the show travels from Georgia to South Carolina to North Carolina to Tennessee to Indiana and so on), as well as specifically in the show through the formal properties of the audio-visual (cinematic/televisual) medium, which, with its cuts and movements, similarly keeps shifting through space and time in a nonlinear but generative fashion. Finally, I suggest that we cannot philosophise the plant or the medium of film (or television or streaming media) without philosophising race, with The Underground Railroad serving as a means for bringing together plants and plantations, soil and wormholes and Blackness and black holes, which, collectively and playfully, I group under the umbrella term ‘black (w)hole foods’. (shrink)

To understand adaptation (and exaptation), a more comprehensive view of development is required: one beyond a constraining force. Developmental plasticity may be an adaptation by natural selection simultaneously favored (or sometimes in conflict) at multiple levels of biological organization (e.g., cells, individuals, groups, etc.). To understand the interrelationships between developmental plasticity and adaptive evolution I borrow heavily from West-Eberhard (2003) and Frank (1995; 1997). Developmental plasticity facilitates evolution, results in particular patterns of evolutionary change, and may produce exaptations by design (...) rather than by chance. (shrink)

This essay offers a snapshot of the some of the challenges facing seminary education, specifically teaching the Bible, in the late 19th century that have proved to be fruitful opportunities to recast biblical hermeneutics and, more broadly, theological education in new ways. It examines the way the Bible is handled today in the seminary classroom and charts how we got here theologically and pedagogically as a result of these challenges.

The creation account of Gen 1:1–2:3 is only one of several accounts featured in the Old Testament/hebrew Bible. The one account that most closely matches its cosmic orientation is the poetic description of creation given in Job 38–41. Nevertheless, both accounts are worlds apart regarding how they describe creation and what they find most important about creation. Their theological and literary differences make for a lively intertextual conversation, as entertained in the interpreter’s imagination. Let the dialogue begin.

Genomic conflicts are potentially involved in the evolution and maintenance of culture. Maternal genes contributing to neocortical development could influence biases in the acquisition of information. Specifically, relatedness asymmetries due to multiple paternity are expected to lead to an increased reliability and receptivity of matrilineally-transmitted information. This view complements the gene-culture coevolutionary model adopted by Rendell and Whitehead.

Perhaps the most feared book of the Bible, Job generates more questions than answers. Yet for all its exegetical enigmas and conflicting perspectives, the book is about the painful journey of transformation— Job's, ours, and perhaps even God's.