1. A Historical Look at Unity 2. Field Guide to Modern Concepts of Reduction and Unity 3. Kitcher's Revisionist Account of Unification 4. Critics of Unity 5. Integration Instead of Unity 6. Reduction via Mechanisms 7. Case Studies in Reduction and Unification across the Disciplines.

In The Blue Book, Wittgenstein defined a category of uses of “I” which he termed “I”-as-subject, contrasting them with “I”-as-object uses. The hallmark of this category is immunity to error through misidentification (IEM). This article extends Wittgenstein’s characterisation to the case of memory-judgments, discusses the significance of IEM for self-consciousness—developing the idea that having a first-person thought involves thinking about oneself in a distinctive way in which one cannot think of anyone or anything else—and refutes a common objection to the (...) claim that memory-judgments exhibit IEM. (shrink)

Many people are attracted to the idea that plants experience phenomenal conscious states like pain, sensory awareness, or emotions like fear. If true, this would have wide-ranging moral implications for human behavior, including land development, farming, vegetarianism, and more. Determining whether plants have minds relies on the work of both empirical disciplines and philosophy. Epistemology should settle the standards for evidence of other minds, and science should inform our judgment about whether any plants meet those standards. We argue that evidence (...) for other minds comes either from testimony, behavior, anatomy/physiology, or phylogeny. However, none of these provide evidence that plants have conscious mental states. Therefore, we conclude that there is no evidence that plants have minds in the sense relevant for morality. (shrink)

This article serves as an introduction to the laws-of-biology debate. After introducing the main issues in an introductory section, arguments for and against laws of biology are canvassed in Section 2. In Section 3, the debate is placed in wider epistemological context by engaging a group of scholars who have shifted the focus away from the question of whether there are laws of biology and toward offering good accounts of explanation(s) in the biological sciences. Section 4 introduces two relatively new (...) pieces of science – metabolic scaling theory and ecological stoichiometry – that have not been topics of much discussion by philosophers but are relevant because they have at least some of the hallmarks of laws of nature. Section 5 concludes by pointing out that discovering laws of biology, if any there be, will not necessarily answer the questions raised by the debate in the first place: we will still want to know how biology compares to other sciences, how to characterize its systems and processes, and whether accounts in terms of laws always or usually constitute adequate explanations in various sciences. (shrink)

This chapter contains sections titled: Introduction What Are the Biological Sciences (Not)? Systematics Ecology and Evolution Levels of Selection Conclusion References.

Intended for logicians and mathematicians, this text is based on Dr. Hamilton's lectures to third and fourth year undergraduates in mathematics at the ...

ABSTRACT Ted Gioia associated the “aesthetics of imperfection” with improvised music. In an earlier article, I extended it to all musical performance. This article reconceives my discussion, offering more precise analyses: The aesthetics of imperfection is now argued to involve open, spontaneous response to contingencies of performance or production, reacting positively to idiosyncratic instruments; apparent failings in performance, and so on. Perfectionists, in contrast, prefer a planning model, not readily modified in face of contingencies. Imperfection is not toleration of errors (...) and imperfections, as Gioia assumes, but a positive aesthetic, as in Japanese wabi-sabi. Imperfections can become new styles or kinds of perfection—and so true imperfectionism is a constant striving for new contingencies to respond to. A subtler, more complex relation between composition and improvisation is proposed, in which both have broad and narrow senses. Composition involves works, usually desk produced and notated; or more generally, putting things together in an aesthetically rewarding form. Thus, improvisation is a compositional method. Improvisation and composition are interdependent; both involve structure and spontaneity. Imperfectionism is an aesthetics of performance—of compositions as well as improvisations. Improvisation is no risker, or prone to mistakes, than performance of compositions. (shrink)

This article focuses on the question of the function of imitation and whether current accounts of imitative function are consistent with our knowledge about imitation's origins. We first review theories of imitative origin concluding that empirical evidence suggests that imitation arises from domain‐general learning mechanisms. Next, we lay out a selective account of function that allows normative functions to be ascribed to learned behaviours. We then describe and review four accounts of the function of imitation before evaluating the relationship between (...) the claim that imitation arises out of domain‐general learning mechanisms and theories of the function of imitation. (shrink)

The pervasive dispositional model of belief is misguided. It fails to acknowledge the authority of first‐person ascriptions or avowals of belief, and the “decision principle”– that having decided the question whether p, there is, for me, no further question whether I believe that p. The dilemma is how one can have immediate knowledge of a state extended in time; its resolution lies in the expressive character of avowals – which does not imply a non‐assertoric thesis – and their non‐cognitive status. (...) The common claim that there are higher‐order beliefs concerning ones present beliefs is rejected as unintelligible. The decision principle is defended against claims of “unconscious belief”; there is no interesting such category, since all beliefs are liable at some time to be considered, but mostly to be out of mind. Belief is not constituted by a disposition, but is connected with dispositions – it is an “attitude concept”. (shrink)

Reid rejects the image theory --the representative or indirect realist position--that memory-judgements are inferred from or otherwise justified by a present image or introspectible state. He also rejects the trace theory , which regards memories as essentially traces in the brain. In contrast he argues for a direct knowledge account in which personal memory yields unmediated knowledge of the past. He asserts the reliability of memory, not in currently fashionable terms as a reliable belief-forming process, but more elusively as a (...) principle of Commonsense. There remains a contemporary consensus against Reid's position. I argue that Reid's critique is essentially sound, and that the consensus is mistaken; personal memory judgements are spontaneous and non-inferential in the same way as perceptual judgements. But I question Reid's account of the connection between personal memory and personal identity. My primary concern is rationally reconstructive rather than scholarly, and downplays recent interpretations of Reid's faculty psychology as a precursor of functionalism and other scientific philosophies of mind. (shrink)

Exploring whether clades can reproduce leads to new perspectives on general accounts of biological development and individuation. Here we apply James Griesemer's general account of reproduction to clades. Griesemer's account of reproduction includes a requirement for development, raising the question of whether clades may bemeaningfully said to develop. We offer two illustrative examples of what clade development might look like, though evaluating these examples proves difficult due to the paucity of general accounts of development. This difficulty, however, is instructive about (...) what a general account of development should look like and how it may usefully be applied to research problems (further suggesting a means for evaluating general accounts of development). Reproduction also requires individuation of parent and offspring. We argue that there is no special problem of individuating older and younger clades. The vagaries involved with determining when clades begin, mature, and end are precisely the same as those that arise when the same questions are asked of cells, organisms, or species. Though the question of clade reproduction and selection may still be open, the process of discovery presents new insights into old problems. (shrink)

Ludwig Wittgenstein is arguably the most important philosopher of the twentieth century. In _On Certainty_ he discusses central issues in epistemology, including the nature of knowledge and scepticism. _The Routledge Philosophy Guidebook to Wittgenstein and On Certainty_ introduces and assesses: Wittgenstein's career and the background to his later philosophy the central ideas and text of _On Certainty_, including its responses to G.E. Moore and discussion of fundamental issues in the theory of knowledge Wittgenstein's continuing importance in contemporary philosophy. This _GuideBook_ (...) is essential reading for all students of Wittgenstein, and for those studying epistemology and philosophy of language. _On Certainty, _Wittgenstein's final work, addresses a category of "world-picture" propositions discovered by G.E. Moore. These challenge Wittgenstein's enduring commitment to a well-defined category of empirical propositions, and help to generate a critique of scepticism. Developing Wittgenstein's view that scepticism is self-undermining, the _Guidebook _offers a combative yet therapeutic interpretation that locates _On Certainty_ between the standpoints of Kant and Hume. (shrink)

This article develops a dynamic account of rhythm as ‘order‐in‐movement’ that opposes static accounts of rhythm as abstract time, as essentially a pattern of possibly unstressed sounds and silences. This dynamic account is humanistic: it focuses on music as a humanly‐produced, sonorous phenomenon, privileging the human as opposed to the abstract, or the organic or mechanical. It defends the claim that movement is the most fundamental conceptualization of music—the basic category in terms of which it is experienced—and suggests, against Scruton, (...) that music literally and not merely metaphorically moves. (shrink)

Samir Okasha argues that clade selection is an incoherent concept, because the relation that constitutes clades is such that it renders parent-offspring (reproduction) relations between clades impossible. He reasons that since clades cannot reproduce, it is not coherent to speak of natural selection operating at the clade level. We argue, however, that when species-level lineages and clade-level lineages are treated consistently according to standard cladist commitments, clade reproduction is indeed possible and clade selection is coherent if certain conditions obtain. Despite (...) clade selection's logical coherence, however, we share some of Okasha's pessimism. Whether or not clades are a unit of selection is ultimately a question of empirical support and theoretical import. (shrink)

The environment can elicit biological responses such as oxidative stress (OS) and inflammation as a consequence of chemical, physical, or psychological changes. As population studies are essential for establishing these environment-organism interactions, biomarkers of OS or inflammation are critical in formulating mechanistic hypotheses. By using examples of stress induced by various mechanisms, we focus on the biomarkers that have been used to assess OS and inflammation in these conditions. We discuss the difference between biomarkers that are the result of a (...) chemical reaction (such as lipid peroxides or oxidized proteins that are a result of the reaction of molecules with reactive oxygen species) and those that represent the biological response to stress, such as the transcription factor NRF2 or inflammation and inflammatory cytokines. The high-throughput and holistic approaches to biomarker discovery used extensively in large-scale molecular epidemiological exposome are also discussed in the context of human exposure to environmental stressors. We propose to consider the role of biomarkers as signs and to distinguish between signs that are just indicators of biological processes and proxies that one can interact with and modify the disease process. (shrink)

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm opens (...) up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

The pervasive dispositional model of belief is misguided. It fails to acknowledge the authority of first‐person ascriptions or avowals of belief, and the “decision principle”– that having decided the question whether p, there is, for me, no further question whether I believe that p. The dilemma is how one can have immediate knowledge of a state extended in time; its resolution lies in the expressive character of avowals – which does not imply a non‐assertoric thesis – and their non‐cognitive status. (...) The common claim that there are higher‐order beliefs concerning ones present beliefs is rejected as unintelligible. The decision principle is defended against claims of “unconscious belief”; there is no interesting such category, since all beliefs are liable at some time to be considered, but mostly to be out of mind. Belief is not constituted by a disposition, but is connected with dispositions – it is an “attitude concept”. (shrink)

The visual arts include painting, sculpture, photography, video, and film. But many people would argue that music is the universal or only art of sound. In the modernist era, Western art music has incorporated unpitched sounds or ‘noise’, and I pursue the question of whether this process allows space for a non-musical soundart. Are there non-musical arts of sound—is there an art phonography, for instance, to parallel art photography? At the same time, I attempt a characterization of music, contrasting acoustic, (...) aesthetic, and acousmatic accounts. My view is that there is some truth in all of these. I defend the claim that music is an art with a small ‘a’—a practice involving skill or craft whose ends are essentially aesthetic, that especially rewards aesthetic attention—whose material is sounds exhibiting tonal organization. But acoustic and acousmatic accounts help to distinguish between music and non-musical soundart, since music must have a preponderance of tones for its material. (shrink)

Ludwig Wittgenstein is arguably the most important philosopher of the twentieth century. In On Certainty he discusses central issues in epistemology, including the nature of knowledge and scepticism. The Routledge Philosophy Guidebook to Wittgenstein and On Certainty introduces and assesses: Wittgenstein's career and the background to his later philosophy the central ideas and text of On Certainty , including its responses to G.E. Moore and discussion of fundamental issues in the theory of knowledge Wittgenstein's continuing importance in contemporary philosophy. This (...) GuideBook is essential reading for all students of Wittgenstein, and for those studying epistemology and philosophy of language. On Certainty, Wittgenstein's final work, addresses a category of "world-picture" propositions discovered by G.E. Moore. These challenge Wittgenstein's enduring commitment to a well-defined category of empirical propositions, and help to generate a critique of scepticism. Developing Wittgenstein's view that scepticism is self-undermining, the Guidebook offers a combative yet therapeutic interpretation that locates On Certainty between the standpoints of Kant and Hume. (shrink)

In this chapter, we examine Iris Murdoch’s views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, Kant, and Freud. We argue that Murdoch’s views about art, though traditionally linked to Plato, are more compatible with Kant’s thought than has been acknowledged—though with his ethics rather than his aesthetics. Murdoch shows Plato’s influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian than (...) Platonic influence in her suggestion that the experience of beauty can be conducive to virtue, and distances herself from Plato in her claim that the enjoyment, as well as the production, of certain kinds of art can be virtuous. We also argue that her view of bad art as self-consoling fantasy is consonant with Freudian thought. Lastly, we question her view of bad art, specifically concerning her identification of bad art as self-consoling fantasy or entertainment, and her separation of the latter and good art. (shrink)

Ferruccio Busoni's Sketch of a New Aesthetic of Music appeared in 1910. Schoenberg, in his copy of the little book, wrote critical marginal comments which crystallize two opposed outlooks in musical aesthetics. Busoni writes: Notation, the writing out of compositions, is primarily an ingenious expedient for catching an inspiration, with the purpose of exploiting it later. But notation is to improvisation as the portrait is to the living model… …What the composer's inspiration necessarily loses through notation, his interpreter should restore (...) by his own…. (shrink)

Scruton is a self-confessed elitist for whom culture is ‘the creation and creator of elites’, though its meaning ‘lies in emotions and aspirations that are common to all’. This article argues that one can uphold his humane conception of the value of high culture without endorsing elitism. It develops a surprisingly unelitist strand in Scruton's thinking into a meritocratic middle way between elitism and populism, in order to explain why art is in some sense an elite product, but with communal (...) resonance. This aim is furthered by interpreting high culture in terms of the less elitist concept of the classic. (shrink)

Recording has transformed the nature of music as an art by reconfiguring the opposition between the aesthetics of perfection and imperfection. A precursor article, ‘The Art of Improvisation and the Aesthetics of Imperfection’, contrasted the perfectionist aesthetic of the ‘work-concept’ with the imperfectionist aesthetic of improvisation. Imperfectionist approaches to recording are purist in wanting to maintain the diachronic and synchronic integrity of the performance, which perfectionist recording creatively subverts through mixing and editing. But a purist transparency thesis cannot evade the (...) fact that the recorded image is crafted; against creative editing, however, the imperfectionist ideal of the ‘complete take’ is humanistic and anti-mechanistic, and not mere Romantic illusion. The article concludes with a discussion of the question of the artistic status of recording, and contrasts the possibility of a non-acousmatic sound art with the essentially acousmatic art of music. (shrink)

Philosophy of the Special Sciences, edited by Fritz Allhof, Blackwell Press.

According to population biologist Richard Levins, every discipline has a “strategy of model building,” which involves implicit assumptions about epistemic goals and the types of abstractions and modeling approaches used. We will offer suggestions about how to model complex systems based upon a strategy focusing on independence in modeling. While there are many possible and desirable modeling strategies, we will contrast a model-independence-focused strategy with the more common modeling strategy of adding increasing levels of detail to a model. Levins calls (...) the latter approach a ‘brute force’ strategy of modeling, which can encounter problems as it attempts to add increasing details and predictive precision. In contrast, a model-independence-focused strategy, which we call a ‘pluralistic strategy,’ draws off of Levins’s use of an assemblage of multiple, simple and—critically—independent models of ecological systems in order to do predictive and explanatory analysis. We use the example of model analysis of levee failure during Hurricane Katrina to show what a pluralistic strategy looks like in engineering. Depending on one’s strategy, one can deliberately engineer the set of available models in order to have more independent and complementary models that will be more likely to be accurate. We offer advice on ways of making models independent as well as a set of epistemic goals for model development that different models can emphasize. (shrink)

According to population biologist Richard Levins, every discipline has a “strategy of model building,” which involves implicit assumptions about epistemic goals and the types of abstractions and modeling approaches used. We will offer suggestions about how to model complex systems based upon a strategy focusing on independence in modeling. While there are many possible and desirable modeling strategies, we will contrast a model-independence-focused strategy with the more common modeling strategy of adding increasing levels of detail to a model. Levins calls (...) the latter approach a ‘brute force’ strategy of modeling, which can encounter problems as it attempts to add increasing details and predictive precision. In contrast, a model-independence-focused strategy, which we call a ‘pluralistic strategy,’ draws off of Levins’s use of an assemblage of multiple, simple and—critically—independent models of ecological systems in order to do predictive and explanatory analysis. We use the example of model analysis of levee failure during Hurricane Katrina to show what a pluralistic strategy looks like in engineering. Depending on one’s strategy, one can deliberately engineer the set of available models in order to have more independent and complementary models that will be more likely to be accurate. We offer advice on ways of making models independent as well as a set of epistemic goals for model development that different models can emphasize. (shrink)

Groups, individuals, and evolutionary restraints : the making of the contemporary debate over group selection Content Type Journal Article Pages 1-14 DOI 10.1007/s10539-011-9255-5 Authors Andrew Hamilton, Center for Biology and Society, School of Life Sciences, Arizona State University, Tempe, AZ 85287-4501 USA Christopher C. Dimond, Center for Biology and Society, School of Life Sciences, Arizona State University, Tempe, AZ 85287-4501 USA Journal Biology and Philosophy Online ISSN 1572-8404 Print ISSN 0169-3867.

For decades now, researchers in the social sciences and humanities have been expressing a deep dissatisfaction with the process of research-ethics review in academia. Continuing the ongoing critique of ethics review begun in Will C. van den Hoonard's Walking the Tightrope and The Seduction of Ethics, The Ethics Rupture offers both an account of the system's failings and a series of proposals on how to ensure that social research is ethical, rather than merely compliant with institutional requirements. Containing twenty-five essays (...) written by leading experts from around the world in various disciplines, The Ethics Rupture is a landmark study of the problems caused by our current research-ethics system and the ways in which scholars are seeking solutions. (shrink)