This theory accords to volitions the status of basic mental actions, maintaining that these are spontaneous exercises of the will--a "two-way" power which ...

This paper reports research concerning a suitable dialogue model for human computer debate. In particular, we consider the adoption of Moore's (1993) utilization of Mackenzie's (1979) game DC, means of using computational agents as the test-bed to facilitate evaluation of the proposed model, and means of using the evaluation results as motivation to further develop a dialogue model, which can prevent fallacious argument and common errors. It is anticipated that this work will contribute toward the development of human computer dialogue, (...) and help to illuminate research issues in the field of dialectics itself. (shrink)

The author presents and defends three theses: (1) "the first is that it is not profitable for us at present to do moral philosophy; that should be laid aside at any rate until we have an adequate philosophy of psychology." (2) "the second is that the concepts of obligation, And duty... And of what is morally right and wrong, And of the moral sense of 'ought', Ought to be jettisoned if this is psychologically possible...." (3) "the third thesis is that (...) the differences between the well-Known english writers on moral philosophy from sidgwick to the present day are of little importance." (staff). (shrink)

This article seeks to investigate art in public urban space via a process of activating aesthetics as a way of enhancing pedagogies of engagement. It does this firstly by addressing the question of aesthetics in Enlightenment and twentieth-century frames; then it seeks to understand how artworks may be approached ontologically and epistemologically. The discussion works with the philosophical lenses of two different thinkers: Heidegger, in ‘Building Dwelling Thinking’ and ‘The Origin of the Work of Art’, and Marxist sociologist, Bourdieu with (...) his work on a theory of practice and habitus. It asks how art may work in the meaning-making processes of place and the human subject in terms of ontological difference and dispositional capital. In bringing these different organising principles of interpretation to specific works of art, the discussion draws from locational research undertaken in Newcastle/gateshead and Melbourne. (shrink)

Creativity: what might this mean for art and art educators in the creative economies of globalisation? The task of this discussion is to look at the state of creativity and its role in education, in particular art education, and to seek some understanding of the register of creativity, how it is shaped, and how legitimated in the globalised world dominated by input-output, means-end, economically driven thinking, expectations and demands. With the help of Heidegger some crucial questions are raised, such as: (...) How can art maintain its creative ontological and epistemological potential in the creative economies of globalisation? Is it possible for art and the creative arts to act as a process of ‘revealing’ and ‘becoming’ and ‘throwing light’ on the world while working within the market economies of innovation and entrepreneurship where creativity has become a generalised discourse? What matters in this discussion is to find a way to argue for the sustainability of art education as a creative mode of enquiry through which self and the world may be better understood, identity might be realised as difference and being-in-time might be possible. (shrink)

The field of Philosophy of Sport has been developing in Anglo-Saxon scholarship since the 1960s and since then has achieved considerable consolidation. However, this is a progressing field in Latin American countries like Brazil. This paper aims to analyse the trajectory of the Philosophy of Sport in Brazil, presenting an overview of its development since the 1980s and some prospects that have been generated since the turn of the century. In conclusion, the article points out that the field of Philosophy (...) of Sport in Brazil is in the process of disciplinary consolidation, presenting a plurality of agents, institutions and theoretical approaches in its structure. (shrink)

This article is concerned with developing a philosophical approach to a number of significant changes to academic publishing, and specifically the global journal knowledge system wrought by a range of new digital technologies that herald the third age of the journal as an electronic, interactive and mixed-media form of scientific communication. The paper emerges from an Editors' Collective, a small New Zealand-based organisation comprised of editors and reviewers of academic journals mostly in the fields of education and philosophy. The paper (...) is the result of a collective writing process. (shrink)

This paper investigates what it may mean to re-imagine learning through aesthetic experience with reference to John Dewey’s Art as Experience. The discussion asks what learning might look like when aesthetic experience takes centre stage in the learning process. It investigates what Dewey meant by art as experience and aesthetic experience. Working with Dewey as a philosopher of reconstruction of experience, the discussion examines responses to poetic writings and communication in learning situations. In seeking to discover what poetic writing does (...) within the experience of a reader and writer it considers three specific learning situations. Firstly there is an examination of a five-year old child’s experience of shared communication through the story of Horton the Elephant. Secondly there is an account of the responses of an 11-year-old child to poetry in a 1950s classroom setting, and later reconstructions of those experiences by the child as adult. Thirdly, the paper extends to intensive writing with 12 to 13-year-old children. The focus is on the process of learning via acts of expression as aesthetic experiences. Through art as experience the child develops perceptions that recover a coherence and continuity of aesthetic experience in art as in everyday life. (shrink)

Derek Parfit’s view of personal identity raises questions about whether advance decisions refusing life-saving treatment should be honored in cases where a patient loses psychological continuity; it implies that these advance decisions would not be self-determining at all. However, rather than accepting that an unknown metaphysical ‘further fact’ underpins agential unity, one can accept Parfit’s view but offer a different account of what it implies morally. Part II of this article argues that contractual obligations provide a moral basis for honoring (...) advance decisions refusing life-saving and/or life-sustaining medical treatment; advance decisions have similarities to contracts, such as life insurance policies and will-contracts, that come into effect when the psychological discontinuity is through death. (shrink)

De-Signing Design: Cartographies of Theory and Practice throws new light on the terrain between theory and practice in transdisciplinary discourses of design and art. The collection brings together a selection of essays on spatiality, difference, cultural aesthetics, and identity in the expanded field of place-making and being.

This paper brings a critical focus to difference and the creative arts in education with specific attention to art as a site of knowledge in New Zealand conditions. The 1990s and early 2000s are marked by a paucity of critically engaged literature on the arts in education and a conspicuous absence of discussions on the politics of difference. Alongside the global return to empirical research in education where quantifiable data‐based projects tend to attract attention ahead of fundamentally crucial questions of (...) philosophical and critical registers, there has been an apparent reinvention of liberal humanistic concepts of creative practice. These tendencies are coupled with strategic political alignments of creativity with industry. The outcome appears to be a withering of attention to the politics of difference on the vine of educational philosophy, policy and practice in art education. The paper suggests that if the creative arts are to hold or gain any purchase in the stakes of education in a global world this vine must be tended and revitalised through a rigorous application of critically framed questions so that discourses of difference can be recognised as a social and political responsibility in the art educational encounter. (shrink)

This paper brings a critical focus to difference and the creative arts in education with specific attention to art as a site of knowledge in New Zealand conditions. The 1990s and early 2000s are marked by a paucity of critically engaged literature on the arts in education and a conspicuous absence of discussions on the politics of difference. Alongside the global return to empirical research in education where quantifiable data‐based projects tend to attract attention ahead of fundamentally crucial questions of (...) philosophical and critical registers, there has been an apparent reinvention of liberal humanistic concepts of creative practice. These tendencies are coupled with strategic political alignments of creativity with industry. The outcome appears to be a withering of attention to the politics of difference on the vine of educational philosophy, policy and practice in art education. The paper suggests that if the creative arts are to hold or gain any purchase in the stakes of education in a global world this vine must be tended and revitalised through a rigorous application of critically framed questions so that discourses of difference can be recognised as a social and political responsibility in the art educational encounter. (shrink)

Originally published in 1933, this volume contains the emended text of the Adamson Lecture for 1930, delivered by H. J. C. Grierson under the title 'Carlyle and the Hero'. This book will be of value to anyone with an interest in the modern and possibly controversial applications of Carlyle's philosophy.

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing Studio Art and Its StudyHistorical Relations and Contemporary ConditionsElizabeth M. Grierson (bio)Yet art is nevertheless an inquiry, precise and rigorous.—Maurice BlanchotIntroductionThe modern disciplines of art and art history have been going through significant revisions since the 1980s, when the objective domain of knowledge was placed in a contested position by the multiplicity of narratives characterizing postmodern social spaces. Whether there was or was not any disciplinary "crisis" (...) at that time is not at issue here.1 What is of concern is to identify the ways the academy—and specifically the art academy—sought to respond by rethinking disciplinary knowledge and thereby problematizing traditional methodologies of scholarly inquiry. Through the academic privileging of aesthetics and scientific discourses, modern knowledge brought with it a metanarrative appeal to the transcendence of the human spirit through art and religiosity, coupled with the identification of the rational human subject as agent of progress. This discussion is concerned with asking how these metanarratives were intervened or interrogated through art and its study and how those moments of displacement could be identified and analyzed. Ultimately, we may address the question of how discourses of power operate to normalize social practices and silence difference in institutional practices of art and art education. [End Page 111]Crisis in the DisciplinesIn 1982 an issue of Art Journal was dedicated to the theme of the crisis in the disciplines. However, as Donald Preziosi2 points out, if the disciplines of art and art history were deemed by Art Journal to be in crisis, there was only one article (by Oleg Grabar) in that journal issue that addressed this crisis and problematized "the history of the discipline and its methodological prospects for the future."3 In other words, if there was a crisis, and art educators or art historians were feeling it, what constituted the crisis was not yet being addressed. What is of interest is that this was a time when the object of study was under reconsideration and art and its history were part of a revisionist climate of scrutiny and reconsideration. This being so, there was significant expansion to the way fine arts and art history were being approached in the 1980s and 1990s in response to revisionist scholarship. This trend continued to be reinvigorated with the transformations of digital technologies in the 2000s.Art academies of the early 1990s in New Zealand and Australia were starting to grapple with methodological regimes of art history as a discipline in the context of intellectual challenges of postmodernity. Directing these issues to artists and their scholarly needs, educators were opening the discrete academic disciplines to wider intellectual, social, and cultural possibilities of inquiry. Standing before a "great" work of art and proclaiming its greatness had lost its meaning. Jean-François Lyotard had written it thus: "The time is past when we can plant ourselves in front of a Vernet and sigh along with Diderot, 'How beautiful, grand, varied, noble, wise, harmonious, rigorously coloured this is!'"4Threading throughout this discussion is the way one particular art academy was facing this challenge in those postmodernist years of the 1990s. The account tells of processes and principles of pedagogical change, but the implications of this case are not limited to one academy in one location. It was the early 1990s, and the writers of the first degree nominated as "visual arts" in New Zealand were addressing some of the issues of disciplinarity in fine arts and art history. This was the first degree situating what might be called a postmodernist pedagogical approach to fine arts studio and its study. This was at a time when changes in the New Zealand Education Act (1989, 1990) enabled degrees in art to be formally accredited and resourced in tertiary institutions beyond the long-established universities of Auckland (North Island) and Canterbury (South Island). This political move gave opportunity for educational innovation in the pedagogies of fine arts and art history. It was in this context that one independent art school in Auckland, ASA School of Art, seized the moment to work toward a more interdisciplinary notion of practice and theory. Given the opportunity to introduce a more... (shrink)

Scientific research and ethics -- Ethical theory and decision making -- Data acquisition and management -- Mentoring and professional relationship -- Collaboration in research -- Authorship -- Publication and peer review -- Misconduct in research -- Intellectual property -- Conflicts of interest and scientific objectivity -- The use of animals in research -- The use of human subjects in research -- The use of vulnerable subjects in research -- Genetics, cloning, and stem cell research -- International research.

This paper reports our research concerning dialogue strategies suitable for adoption by a human-computer debating system. We propose a set of strategic heuristics for a computer to adopt to enable it to function as a dialogue participant. In particular, we consider means of assessing the proposed strategy. A system involving two agents in dialogue with each other and a human-agent debate system are constructed and subsequently used to facilitate the evaluations. The evaluations suggest that the proposed strategy can enable the (...) computer to act as an effective dialogue participant. It is anticipated that this work will contribute towards the development of computerised dialogue systems and help to illuminate research issues concerning strategies in dialectical systems. (shrink)

Michel Foucault showed by his genealogical method that history is random. It comprises sites of disarray and dispersal. In those sites, Simone de Beauvoir wrote philosophy through lived experience of woman as Other in relation to man as the Absolute. Here lies a fecund site for revisionist analysis of female cultural production and its relevance to a philosophy of education. The paper works with a feminist approach to the politics of knowledge, examining textual and political strategies in the recording of (...) history and the ‘othering’ of women through dominant cultural discourses. Infusing this discussion is a feminist politics of interrogation on cultural change for women. The paper investigates contributions of women to fields of art, politics, education and philosophy, and to the ways their contributions have been considered, received, positioned. Different approaches to feminism become apparent in the different conditions of knowledge under discussion. This leads to a final consideration of femi... (shrink)

Yet art is nevertheless an inquiry, precise and rigorous.The modern disciplines of art and art history have been going through significant revisions since the 1980s, when the objective domain of knowledge was placed in a contested position by the multiplicity of narratives characterizing postmodern social spaces. Whether there was or was not any disciplinary "crisis" at that time is not at issue here.1 What is of concern is to identify the ways the academy—and specifically the art academy—sought to respond by (...) rethinking disciplinary knowledge and thereby problematizing traditional methodologies of scholarly inquiry. Through the academic privileging of aesthetics and scientific discourses, modern knowledge brought .. (shrink)

This paper examines trust as a fundamental aspect of fiduciary relationships in education. The specific relationship under examination is that of academic employee and university employer. Both have the value of trust assigned to them as an implicit part of their social and professional contract. The setting is Australia, but the principles apply to any democratic jurisdiction and educational level or location, where fiduciary principles are a pre-condition for healthy and trustworthy working relationships. The paper firstly discusses the meaning and (...) application of ‘trust’ and ‘fiduciary’, and considers the codes that regulate fiduciary relationships in education. It then asks what happens if and when the fiduciary duties and obligations are not upheld, advancing that question through an employment law case against an Australian university, for alleged breach of the Fair Work Act. The analysis shows what may be the outcome when fiduciary trust between employee and employer is breached, how it may happen, and the consequences of this. The aim of the paper is to throw light on the value of trust for robust working relationships in academic life. Ultimately, the paper shows that trust is axiomatic to a working system of justice in a healthy educational workplace. (shrink)

It is a commonly accepted view that men think to live, and do not live to think, that conation, and not cognition, is the primary object of living. Impression, affect, and expression constitute the complete psychic process. The term philosophy, the love of wisdom, also suggests that man's thought has a practical and not a theoretical objective. In this connection, however, two errors must be avoided: on the one hand an exaltation of the intellect as in rationalism, and on the (...) other hand a depreciation of the intellect as in pragmatism. (shrink)

The poet’s words: “A man’s reach should exceed his grasp” are not merely a command of whatought to be, they are a description of what is. Man has always been stretching himself beyond his own measure. He has a sense of the Infinite: Eternity has been set in his heart: he has not been content to look only on the things seen, his gaze has ever been towards the Unseen. Whatever stage of development he may have reached, he seeks for, (...) and strives after, what is above and beyond himself and his world. In science he tries to get behind thephenomenalreality as his senses apprehend it, to thenoumenal, mind. In philosophy he endeavours to bring the multiplicity of his experience, outer and inner, into a unity that will evidence itself to his reason as coherent, and not contradictory. In morality he is not content with the customs and standards of the society of which he is a member; but conscious of their inadequacy, he conceives and aspires to realize an ideal adequate to his nature; hisought to beis always challenging hisis. The impulse or motive of progress in all spheres of human interest and activity is “the best is yet to be.”. (shrink)

Die Edition prasentiert Rees Bucher Psychologische Beobachtungen (1875), Der Ursprung der moralischen Empfindungen (1877), Die Entstehung des Gewissens (1885) und Die Illusion der Willensfreiheit (1885).

The role of power in healthcare can raise many ethical challenges. Power is ownership, whether given, ceded, or taken of another person’s autonomy. When a person has power over someone else, they can control or strongly influence the decision-making freedom of that person. From the principalist perspective1,2 of healthcare ethics, denying a person their freedom to choose, should only occur when justifying conditions related to beneficence and nonmaleficence are sufficiently satisfied. In healthcare, it is rare to be able to identify (...) situations where paternalism is justified. However, experience suggests that abusive power in healthcare is used too frequently without justifying criteria. (shrink)