En esta investigación se presenta el estudio de cinco perspectivas de análisis de la obra filosófica de Ignacio Ellacuría, con la finalidad de ofrecer un panorama general, que permita profundizar en su pensamiento. Se parte de la perspectiva ofrecida por Antonio González, como uno de los primeros sistematizadores del corpus ellacuriano, para dar paso a la interpretación elaborada por Héctor Samour, caracterizada por su visión de continuidad en cada una de las etapas filosóficas de Ellacuría. Luego, se ahonda en la (...) lectura metafísica propuesta por Marcela Brito; para posteriormente estudiar la perspectiva hecha por José M. Romero-Cuevas, la cual se encuentra en relación directa con la teoría crítica y las ideas de Juan A. Nicolás, en cuyo enfoque sobresale el papel de la verdad y la experiencia en la filosofía madura de Ellacuría. Para finalizar, se presentan las propuestas que analizan a este autor desde la óptica de los derechos humanos, tomando en cuenta los aportes de Juan A. Senent y Alejandro Rosillo. (shrink)

En este artículo se realiza un análisis de la categoría de verdad real en el pensamiento del filósofo español Xavier Zubiri. El estudio se estructura en cuatro apartados, en los cuales se parte de una introducción a los principales elementos de la teoría de la verdad desarrollados por dicho autor, y posteriormente se propone un abordaje partiendo de las tesis presentes en Sobre la esencia, profundizando de manera específica en lo relacionado con la verdad real y sus dimensiones en el (...) marco de la intelección sentiente. Luego se estudia el curso dictado en 1966 titulado El hombre y la verdad, en el cual se visualiza a la verdad como un elemento constitutivo de la realidad humana, enfatizando de manera particular en su vínculo con la historicidad. Finalmente, se asume el primer tomo de la trilogía sobre la inteligencia sentiente como un insumo clave para comprender el pensamiento maduro de Zubiri sobre esta temática. El problema de investigación que estructura esta investigación gira en torno a la interrogante: ¿Cuáles son los fundamentos de la verdad real planteada por Xavier Zubiri en el marco de la inteligencia sentiente? Se pretende que su alcance ofrezca un insumo sistematizado al lector interesado en la obra de Zubiri sobre una de sus temáticas más importantes. Metodológicamente se ha optado por una lectura directa de las fuentes primarias, desde una perspectiva eminentemente hermenéutica. Se concluye que la teoría de la verdad zubiriana se ubica en el nivel primario y originario, donde no hay espacio para el error. (shrink)

This collection explores the core concepts of Ignacio Ellacuría's liberating philosophy; his critique of ideologies and continuity with critical theory; his philosophical anthropology and humanism; and the implications that praxis has for philosophical thought.

[v. 1] From the Middle Ages to the Enlightenment.--v. 2. From the German Enlightenment to the age of Darwin.

Whole brain emulation aims to re-implement functions of a mind in another computational substrate with the precision needed to predict the natural development of active states in as much as the influence of random processes allows. Furthermore, brain emulation does not present a possible model of a function, but rather presents the actual implementation of that function, based on the details of the circuitry of a specific brain. We introduce a notation for the representations of mind state, mind transition functions (...) and transition update functions, for which elements and their relations must be quantified in accordance with measurements in the biological substrate. To discover the limits of significance in terms of the temporal and spatial resolution of measurements, we point out the importance of brain region and task specific constraints, as well as the importance of in-vivo measurements. We summarize further problems that need to be addressed. (shrink)

Whole brain emulation aims to re-implement functions of a mind in another computational substrate with the precision needed to predict the natural development of active states in as much as the influence of random processes allows. Furthermore, brain emulation does not present a possible model of a function, but rather presents the actual implementation of that function, based on the details of the circuitry of a specific brain. We introduce a notation for the representations of mind state, mind transition functions (...) and transition update functions, for which elements and their relations must be quantified in accordance with measurements in the biological substrate. To discover the limits of significance in terms of the temporal and spatial resolution of measurements, we point out the importance of brain region and task specific constraints, as well as the importance of in-vivo measurements. We summarize further problems that need to be addressed. (shrink)

In Queer Social Philosophy, Randall Halle analyzes key texts in the tradition of German critical theory from the perspective of contemporary queer theory, exposing gender and sexuality restrictions that undermine those texts' claims of universal truth. Addressing such figures as Kant, Hegel, Marx, Nietzsche, Adorno, and Habermas, Halle offers a unique contribution to contemporary debates about sexuality, civil society, and politics.

Traces the impact of Charles Darwin's "On the Origin of Species" on a diverse group of writers, abolitionists, and social reformers, including Henry David Thoreau and Bronson Alcott, against a backdrop of growing tensions and transcendental idealism in 1860 America.

Palliative care is a recent branch of health care. The doctors, nurses, and other professionals involved in it took their inspiration from the medieval idea of the hospice, but have now extended their expertise to every area of health care: surgeries, nursing homes, acute wards, and the community. This has happened during a period when patients wish to take more control over their own lives and deaths, resources have become scarce, and technology has created controversial life-prolonging treatments. Palliative care is (...) therefore faced with more ethical problems that other areas of health care. This book, by a clinician, teacher, and writer on health care ethics, has been written to provide all those who care for the terminally ill--doctors, nurses, social workers, clergymen, physiotherapists--with the concepts and principles which will assist them with difficult decisions. It challenges many received doctrines of palliative care, but its well-illustrated central theme is that technical expertise must be controlled by humane, non-technical judgments. (shrink)

This book aims to develop a sophisticated understanding of propaganda. It begins with a brief history of early Western propaganda, including Ancient Greek classical theories of rhetoric and the art of persuasion, and traces its development through the Christian era, the rise of the nation-state, World War I, Nazism, and Communism. The core of the book examines the ethical implications of various forms of persuasion, not only hate propaganda but also insidious elements of more generally acceptable communication such as advertising, (...) public relations, and government information, setting these in the context of freedom of expression. Propaganda and the Ethics of Persuasion examines the art of persuasion but it also hopes to establish a "self-defense" resistance to propaganda. As Jacques Ellul warned in 1980, any new technology enters into an already existing class system and can be expected to develop in a way favourable to the dominant interests of that system. The merger of AOL and Time-Warner confirms the likelihood of corporate interests dominating the future of the Internet, but the Internet has also opened up new possibilities for a politically effective counter-culture, as was demonstrated at the meeting of the World Trade Organization in Seattle in late 1999 and numerous similar gatherings since. (shrink)

Global security cannot be achieved until people view the world as a global community. Until such time, differences will continue to be perceived as threatening. These perceived “threats” are the primary threat to global security. This volume proposes methods for minimizing the “us versus them” mentality so that we can build a sense of global community.

In Minding Spirituality, Randall Sorenson, a clinical psychoanalyst, "invites us to take an interest in our patients' spirituality that is respectful but not diffident, curious but not reductionistic, welcoming but not indoctrinating." Out of this.

Looks at issues such as, the intellectual outlook of Medieval Christendom, the Renaissance, the order of nature in the 17th and 18th centuries, and thought and aspiration in the 19th and 20th centuries.

Taking the possibility of visual argumentation seriously, this essay explores how refutation might proceed. We posit three ways in which images can refute and be refuted in a mixed-media environment: (1) dissection, in which an image is broken down discursively; (2) substitution, in which one image is replaced within a larger visual frame by a different image; and (3) transformation, in which an image is recontextualized in a new visual frame. These strategies are illustrated in an analysis of three American (...) documentary films on abortion. (shrink)

The central question for this book is whether schools should attempt to cultivate patriotism, and if so why, how, and with what conception of patriotism in mind. The promotion of patriotism has figured prominently in the history of public schooling in the United States, always with the idea that patriotism is both an inherently admirable attribute and an essential motivational basis for good citizenship. It has been assumed, in short, that patriotism is a virtue in its own right and that (...) it is a foundational aspect of civic virtue more generally. Through an integrated historical and philosophical approach, this book demonstrates that there have been many and diverse attempts to cultivate patriotism in public schools in the United States and that they have been predicated on different conceptions of patriotism, citizenship, and learning. In order to assess these assumptions and evaluate the various practices of patriotic education, we address the nature of virtue and the motivational foundations of civic responsibility, and we frame a general approach to the ethics of education. We find that the history of attempts to cultivate patriotism in schools offers both cautionary and positive lessons. We argue that there is a virtuous form of patriotism and that an inclusive and enabling just school community may contribute to its development. Yet, we conclude that patriotism is not a virtue as such. We argue that civic virtue is what schools should aim to cultivate, and that civic education should be organized around three components of civic virtue, namely civic intelligence, civic friendship, and civic competence. We hold that virtuous patriotism is an appropriate responsiveness to a country’s value, and that such responsiveness is part and parcel of civic virtue that is also responsive to what has value beyond one’s own country. The book concludes with a defense of global civic education, arguing that it should promote global civic friendship and cooperation. The book situates its understanding of patriotism in the context of nationalist, populist, and authoritarian movements in the United States and Europe, and it mounts a spirited defense of democratic institutions that should be of interest to anyone concerned about the polarization of public life and future of democracy. (shrink)

The Philosophy of Modern Song: curious title, a curious book. If you bought it, as I did, because you are a devoted Dylan fan, hoping to find new Dylan songs inside, or at least new Dylan prose, you will be disappointed. In the photo of three musicians on the cover, none of them is Dylan. The one on the left is Little Richard. Who are the other two? Nowhere are we told their names, nor the names of the people in (...) any of the other photos, except for the sixty-six featured artists, though we will recognize many. The photo on the back cover might or might not be of the interior of Izzy Young's “Folklore Center,” reminiscent of Dylan's early days in Greenwich Village in the Sixties, when, together with my guitarist husband, I got to hear him perform after hours at the Gaslight and knew him well enough to say Hi when passing on the street.The basis for selecting the sixty-six songs anthologized and commented on is not immediately obvious. This is not a collection of Dylan's underappreciated favorites, though the taste represented is certainly eclectic and the choices are often surprising. The title does not help the reader who has not yet got her bearings... Philosophy? As if to justify his use of the word, Dylan eventually offers a lengthy comment on Albert Camus, but how relevant is that comment to these songs? And the word modern, too, means so many things—a sudden divergence from the past in the arts and literature; up-to-date and therefore good. These songs are not that kind of modern. If anything, the book looks backward, across the years of Dylan's long life to his musical awakening. Because we are almost the same age, I recognize the hodgepodge of styles and influences assembled here as belonging mostly to the early Fifties, when, like Bob, I was entering my teens by listening to, even dancing to, songs on the radio before I fell asleep at night. Enough about me! But no more apt basis for classifying these songs is suggested. They are not arranged alphabetically or chronologically.As for the anthologized songs, each one, once named, receives a commentary, and every commentary is called a chapter, and every chapter is divided into two parts, spelled out in letters as bold as a movie marquee. We are given the title of each song, the date of its release, and the name of the songwriter. The first part of each commentary consists of a paraphrase of “events” in the song, told almost exclusively in the second-person you rather than the more conventional I or the third-person he or she. Here is a passage from Dylan's paraphrase of “Blue Suede Shoes” by Carl Perkins: You get on well with most people, and you put up with a lot, and you hardly get caught off guard, but your shoes are something else. Minor things may annoy you, but you rise above them. Having your teeth kicked in, being pounded senseless, being dumped on and discredited, but you don't put any weight on that, none of it is as real to you as your shoes. They're priceless and beyond monetary worth.The paraphrase goes on for almost six pages, and to what end? The second half of each commentary, indicated by changes in the type, takes a few steps back to consider the sociological implications of the song in the context of its time. For instance, from the second half of the commentary on “Blue Suede Shoes”: “Shoes reveal character, station, and personality.” But Dylan does not use the opportunity to talk about his own character, station, personality. His associations with Carl Perkins and “Blue Suede Shoes” morph into an anecdote about a man called “Iron Felix, trusted consort to Lenin and Stalin.”A lengthy list of all required photo credits fills the two back pages but is printed in type so small it is almost illegible. If you want more information, and more importantly if you want to experience the songs discussed, your best bet is to search for the recordings on YouTube and to follow along, reading Dylan's commentary, one song at a time, while listening. Or, I hear rumors that we will need to purchase another book, the audio version of Philosophy of Modern Song, not yet released.Every song has its commentary, but nothing about this organization is stable, and as soon as the reader/listener thinks she has discovered a rationale for the order of the works selected, she is met with an exception. Basically, these seem to be songs about which Dylan has something anecdotal to say. More usefully, perhaps, they are organized around certain themes—those that have always preoccupied him: man's inhumanity to man, injustice, self-deception, the human situation. The anonymous author of the blurb on the jacket promises a master class in songwriting, but, if it exists at all, that lecture is exhausted in one or two observations, such as: “ ‘El Paso’ is built on five stanzas, each one two verses and a bridge and then returning to the next stanza.... ”It was almost fifty pages into the book that the sense of something missing overcame me. It was not only the words of the songs and the music that were missing; it was the author, the central intelligence that I love, the singer and songwriter whose name is credited on the cover but who never appears in the book, not even in a photograph. What I missed was Dylan. He had removed himself from his book's pages, except perhaps for a single instance: “You're an eighty-year old man, being wheeled around in a home for the elderly, and the nurses are getting on your nerves.... ”Has Bob Dylan grown weary of himself and all of his creations? The commentaries are not about Bob. In the whole book, the line quoted above may be the only exception. Does he refuse the “first person singular in the hopes of transcending ego”? Maybe; but we want to hear our master's voice. As for the philosophy of song? Besides the remarks on Camus, there is only one commentary in which Dylan explicitly states anything like a philosophy, and that is the one on “Willie the Wandering Gypsy and Me,” written and performed by Joe Shaver. The song has a philosophical point of view: “Keep moving, it's better, let the train keep on rolling.”. (shrink)

In this volume, Randall B. Smith provides a revisionist account of the scholastic culture that flourished in Paris during the High Middle Ages. Exploring the educational culture that informed the intellectual and mental habits of Thomas Aquinas and Bonaventure, he offers an in-depth study of the prologues and preaching skills of these two masters. Smith reveal the intricate interrelationships between the three duties of the master: lectio (reading), disputatio (debate), and praedicatio (preaching). He also analyzes each of Aquinas and (...) Bonaventure's prologues from their student days to their final works, revealing both their artistry and their instructional character. Written in an engaging style, this book serves as an invaluable resource that will enable scholars and students to read thirteenth-century sermons, prologues, and biblical commentaries with greater understanding and ease. (shrink)

Through network diagrams and sustained narrative, sociologist Randall Collins traces the development of philosophical thought from ancient Greece to modern ...

This is the first philosophical study of artifacts that is book length. In it Randall Dipert develops a theory of what artifacts are and applies it extensively to one of the most complex and intriguing kind of artifacts, art works. He presents his own account of what agents, intentions, and actions are, then uses these notions to clarify what it is for an agent to "make" something. From this starting point, he develops a full theory of artifacts and other (...) artificial things - and, especially, a theory of art works and performances of art works as artifacts. He proposes a theory of nature and of the value of nature as what is essentially nonartificial. Two chapters are devoted to value considerations: merit in artifacts generally, and the evaluation of art works and performance art as artifacts or intentional gestures. Believing that a developed theory of action and philosophy of mind is necessary for a developed aesthetics and philosophy of art, Dipert relies on classical and contemporary research on agency, actions, and intentions, and on the intentionalist theory of mental objects of Brentano and Meinong. Dipert considers artifacts to be physical entities, but he also includes in the definition thoughts, utterances, and performances. This vast category encompasses everyday household objects and tools, streets and edifices, as well as communicative and artistic artifacts. Especially with regard to artistic artifacts, Dipert proposes a theory of expression and communication as actions and extensively discusses the problems of interpreting and recognizing actions, artifacts, and art works. (shrink)

During the last two decades, sociologist Pierre Bourdieu has become a dominant force in cultural activity ranging from taste in music and art to choices in food and lifestyles. _The Field of Cultural Production_ brings together Bourdieu's major essays on art and literature and provides the first introduction to Bourdieu's writings and theory of a cultural field that situates artistic works within the social conditions of their production, circulation, and consumption. Bourdieu develops a highly original approach to the study of (...) literary and artistic works, addressing many of the key issues that have preoccupied literary art and cultural criticism in the last twentieth century: aesthetic value and canonicity, intertextuality, the institutional frameworks of cultural practice, the social role of intellectuals and artists, and structures of literary and artistic authority. Bourdieu elaborates a theory of the cultural field which situates artistic works within the social conditions of their production, circulation, and consumption. He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power. The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power. The Field of Cultural Porduction will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies. (shrink)

From the medieval worldview to the modern outlook, this work presents a sweeping intellectual history in one volume. The emphasis is on ideas in their historical setting, on how modes of thought emerge, grow, influence and react to one another, and die. The result is a grand synthesis of the main currents in western thought, bringing together religion, philosophy, politics, science, economics, literature and the arts, and the social and behavioral sciences- all the diverse systems man has devised in his (...) effort to understand, interpret, and shape human experience. (shrink)

The sequel to Volumes I and II of John Herman Randall, Jr.'s acclaimed history of modern philosophy, "The Career of Philosophy," This volume contains the ...

In order for traditional rational choice theory (RCT) to explain the production of collective action, it must be able to distinguish between two behaviorally identical possibilities: one, that all of the agents in a group are each performing behaviors in pursuit of a set of individual actions; and two, that all of those agents are performing those behaviors in pursuit of a collective action. I argue that RCT does not have the resources necessary to distinguish between these two possibilities. RCT (...) could distinguish between these possibilities if it were able to account for commitments. I argue that successful rational choice explanations of collective action appeal to commitments, and distinguish this way of explaining collective action from a general class of explanations called plural subject (or team reasoning) theories. (shrink)

The eponymous protagonist of Okja is an adorable “super-pig,” larger than an ordinary pig not only in size but also in heart and mind. The film explores and interrogates different ways of seeing Okja, different portraits of Okja’s moral status, as philosophers would put it. To the Mirando Corporation, Okja has no moral status. She is a mere product to be used as they see fit. To the Animal Liberation Front, Okja is a dramatic symbol of animals everywhere who are (...) mistreated and deprived of their rights. She represents a rare opportunity to further their political cause. To the young girl Mija, Okja is unquestionably a person, a member of her family, her lifelong companion and friend. The film subjects both the Mirando Corporation and the Animal Liberation Front to satirical critique and invites the audience to come to see Okja as Mija does. So what is the moral status of an animal like Okja? Philosophers like Peter Singer have argued on behalf of animals, super or not, and protested the ways they are treated, often focused on factory farming and the use of animals in scientific research. Like these philosophical animal advocates, this film pushes human beings to expand the boundaries of the moral community beyond their own species. Simply put, Okja argues that animals matter. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a (...) number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

John Calvin claims that the foundation of Scripture is the oracles and visions revealed to the patriarchs, transmitted through countless generations by an oral tradition that faithfully preserved these oracles. The oral tradition of the patriarchs also contains practices not found in written Scripture that are applicable to the church of Calvin day.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a (...) number of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

In this essay we will use mind as the term to designate the totality and manner in which our thoughts take place. We use the term brain to refer to the underlying mechanics, the substrate and the manner in which it supports the operations needed to carry out thoughts.

In the popular misconception fostered by blockbuster action movies and best-selling thrillers--not to mention conventional explanations by social scientists--violence is easy under certain conditions, like poverty, racial or ideological hatreds, or family pathologies. Randall Collins challenges this view in Violence, arguing that violent confrontation goes against human physiological hardwiring. It is the exception, not the rule--regardless of the underlying conditions or motivations. -/- Collins gives a comprehensive explanation of violence and its dynamics, drawing upon video footage, cutting-edge forensics, and (...) ethnography to examine violent situations up close as they actually happen--and his conclusions will surprise you. Violence comes neither easily nor automatically. Antagonists are by nature tense and fearful, and their confrontational anxieties put up a powerful emotional barrier against violence. Collins guides readers into the very real and disturbing worlds of human discord--from domestic abuse and schoolyard bullying to muggings, violent sports, and armed conflicts. He reveals how the fog of war pervades all violent encounters, limiting people mostly to bluster and bluff, and making violence, when it does occur, largely incompetent, often injuring someone other than its intended target. Collins shows how violence can be triggered only when pathways around this emotional barrier are presented. He explains why violence typically comes in the form of atrocities against the weak, ritualized exhibitions before audiences, or clandestine acts of terrorism and murder--and why a small number of individuals are competent at violence. (shrink)

Shuford, Albert and Massengill proved, a half century ago, that the logarithmic scoring rule is the only proper measure of inaccuracy determined by a differentiable function of probability assigned the actual cell of a scored partition. In spite of this, the log rule has gained less traction in applied disciplines and among formal epistemologists that one might expect. In this paper we show that the differentiability criterion in the Shuford et. al. result is unnecessary and use the resulting simplified characterization (...) of the logarithmic rule to give novel arguments in favor of it. (shrink)

At the centenary of Frank H. Knight’s Risk, Uncertainty, and Profit (1921), we explore the continuing relevance of Knightian uncertainty to the theory and practice of entrepreneurship. There are three challenges facing such assessment. First, RUP is complex and difficult to interpret. The key but neglected element of RUP is that Knight’s account is not solely about risk and uncertainty as states of nature, but about how an agent’s beliefs about uncertain outcomes and confidence in those beliefs guide their choices. (...) Second, RUP is Knight’s only effort in this area. His subsequent career led elsewhere, so he did not engage with subsequent interpretations of this work. Third, much of the current literature emphasizes that decisions must be different under the two states of nature with a consequent misunderstanding of entrepreneurial agency. This paper addresses each challenge in sequence. First, we explicate Knight’s (1921) approach and explain why that approach is murky. Second, as a complement to Knight’s interpretation, we examine Frank P. Ramsey’s approach to subjective probabilities to help clarify Knight’s murky approach. What links Knight and Ramsey is a shared pragmatism about entrepreneurial agency under uncertainty that depends upon the beliefs about, and confidence in, their judgments of possible outcomes. This Knight-Ramsey approach does not require actor’s behaviors to be determined by the class of uncertain environment (whether risk, uncertainty, or ambiguity) they face. We focus on the response by the entrepreneur to the existence of uncertainty in all its forms. We argue that this reductive account provides a foundation to examine common problems in management, including managerial hubris, the interaction between entrepreneurs and venture capitalists, and the need for experimentation (such as prototyping and market research) in advance of new product and venture launches. Third, we critique current literature that favors epistemic purism about the ontology of risk and uncertainty and ignores Knight-Ramsey pragmatism in meeting uncertainty, such as using formal and informal institutions for uncertainty mitigation. Our account locates Frank Knight’s subtleties in entrepreneurial behavior firmly in the literature on entrepreneurial agency a century later. (shrink)

Whit the aim of clariflying what exactly is the human phenomenon of akrasía or incontinence in the fullest sense, in Nicomachean Ethics VII.4-10 Aristotle introduces a type of incontinence by analogy, that is, incontinence due to thymós or courage. Despite his intentions, the explanation of the latter only complicates understanding the former, and the reader ends up without a clear understandingof either. The purpose of this article is to shed some light on the subject of akrasía due to thymós, trying, (...) specifically, to answer three questions: what exactly is this passion? Who are worse, those who get carried away by their appetites or those who get carried away by their anger, and why? Finally, are we responsible for the mistakes we make in a fit of anger? (shrink)

RESUMEN Una de las tesis fundamentales de la ética aristotélica es que la virtud y, por tanto, la felicidad, dependen de nosotros mismos. Para explicar esto, Aristóteles desarrolla una teoría de la voluntariedad, en donde el concepto protagonista es el deproaíresis. Sin embargo, cuando el Estagirita intenta explicar la acción humana (aunque no menos el movimiento animal) a través del llamado "silogismo práctico" omite decirnos, de modo claro y distinto, qué rol juega allí la proaíresis, una oscuridad reprochable dada la (...) importancia capital del concepto. Entonces, el propósito del presente escrito es explicar cuál es el lugar de la proaíresis dentro del silogismo práctico. Por supuesto, en el alcanzamiento de este objetivo tendremos que responder a la pregunta de ¿qué es la proaíresis? Sin embargo, sobre la marcha nos daremos cuenta de que tal pregunta es inexacta, pues, más bien, debemos preguntarnos qué son lasproairéseis, ya que podemos identificar tres tipos de estas, las cuales analizaremos para responder a la pregunta por su lugar dentro del "silogismo práctico" ABSTRACT One of the fundamental theses inside the Aristotelian ethics is that virtue, and therefore happiness depends on ourselves. To explain this, Aristotle develops a theory of voluntariness, where the main concept is prohairesis. However, when Aristotle tries to explain human action (although animal movement too) through the so-called "practical syllogism", he fails to tell us clearly and distinctly, what role prohairesis plays there, reprehensible obscurity given the importance of such concept. Then, the purpose of this article is to explain what the place ofprohairesis within the practical syllogism is. In this process, we will find that the question "what is prohairesis?" is inaccurate and that we rather must ask ourselves "what areprohaireseis?", since we can identify three different types of it, which we are going to explain in the following. (shrink)