Formalised knowledge systems, including universities and research institutes, are important for contemporary societies. They are, however, also arguably failing humanity when their impact is measured against the level of progress being made in stimulating the societal changes needed to address challenges like climate change. In this research we used a novel futures-oriented and participatory approach that asked what future envisioned knowledge systems might need to look like and how we might get there. Findings suggest that envisioned future systems will need (...) to be much more collaborative, open, diverse, egalitarian, and able to work with values and systemic issues. They will also need to go beyond producing knowledge about our world to generating wisdom about how to act within it. To get to envisioned systems we will need to rapidly scale methodological innovations, connect innovators, and creatively accelerate learning about working with intractable challenges. We will also need to create new funding schemes, a global knowledge commons, and challenge deeply held assumptions. To genuinely be a creative force in supporting longevity of human and non-human life on our planet, the shift in knowledge systems will probably need to be at the scale of the enlightenment and speed of the scientific and technological revolution accompanying the second World War. This will require bold and strategic action from governments, scientists, civic society and sustained transformational intent. (shrink)

: Pluripotent human stem cell research may offer new treatments for hundreds of diseases, but opponents of this research argue that such therapy comes attached to a Faustian bargain: cures at the cost of the destruction of many frozen embryos. The National Bioethics Advisory Commission (NBAC), government officials, and many scholars of bioethics, including, in these pages, John Robertson, have not offered an adequate response to ethical objections to stem cell research. Instead of examining the ethical issues involved in sacrificing (...) human embryos for the goal of curing fatal and disabling diseases, they seek to either dismiss the moral concerns of those with objections or to find an "accommodation" with those opposed to stem cell research. An ethical argument can be made that it is justifiable to modify or destroy certain human embryos in the pursuit of cures for dread and lethal diseases. Until this argument is made, the case for stem cell research will rest on political foundations rather than on the ethical foundations that the funding of stem cell research requires. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Architectonic, Truth, and RhetoricGlenn Alexander MageeScientists, we are often told, employ "aesthetic criteria" in their work: a scientific theory must be "simple" and "elegant" if it is to be a good candidate for truth.1 Is this also true of philosophers? Do philosophers rely (implicitly or explicitly) on aesthetic criteria in the development of their ideas, not simply in order to make their ideas accessible or palatable but also as (...) a guide to truth? This question bears on the relationship between art and philosophy, between art and truth, and between beauty and truth. If the answer is yes, then is there a point at which the line between art and philosophy becomes blurred? This is often claimed, though almost always in reference to the way in which philosophers use metaphor and rhetoric to express their ideas. However, I am suggesting in addition that the line may be blurred not just in the expression of their ideas but in the very form or structure they give to their philosophies. This aesthetic moment is not dispensable. On the contrary, philosophers make their thought into an aesthetic object because of a tacit, pre-reflective intuition that the beautiful is the true. In what follows, I will argue for this thesis and explore its implications.I.First of all, the philosophers I have in mind are philosophers in the classic sense: creators of systematic worldviews, those who aim at knowledge of the whole. I have in mind, therefore, thinkers like Plato, Aristotle, Plotinus, [End Page 59] Aquinas, Spinoza, Leibniz, Kant, Schelling, and Hegel, among others. All these thinkers are alike in that they do not approach philosophy piecemeal, as a set of disconnected "problems." Instead, they take the aim of philosophy to be to give a complete account of what is real. In the introduction to The Phenomenology of Spirit, for instance, Hegel writes that philosophy is "actual cognition of what truly is" (1977, 46). This is a definition one can imagine Plato and Aristotle—indeed almost all of the great philosophers—agreeing with. Philosophical knowledge, in this classical understanding, becomes a whole of ideas in which each element depends on every other and nothing of significance is left out. (Perhaps the best example of such a philosophy is, again, Hegel's.) It is only to "systems" of philosophy that our question about aesthetic criteria in philosophy is applicable,2 for it is only when a number of ideas are taken together into an overall structure and given a fundamental unity that a philosophy can become "beautiful" or "ugly."The Greek word sustema literally means "things which stand together or are made to stand together so as to form a whole" or "a whole compounded of several parts" (Klein 1985, 201). The Greeks applied the word to many things but never, it seems, to thought. Then, as Jacob Klein writes, "from about the year 1600 on there is a sudden and most remarkable shift: book after book appears under titles like 'System of Logic,' 'System of Rhetoric,' 'System of Grammar,' 'System of Theology,' 'System of Ethics and Politics,' 'System of Physics,' 'System of Jurisprudence,' 'System of Astronomy,' of Arithmetic, of Geography, of Medicine and even 'System of Systems' " (1985, 201). According to Klein, systematic philosophy is a response to the peculiar anxiety of modernity expressed so well by Yeats: "Things fall apart"—and we need a philosophical system to put them back together again.The idea of a system of philosophy cannot, however, be dismissed merely as a "modern invention," for it is a legitimate extension of the Greek concept of sustema. The Greek philosophers would not have reflected on their activity as "systematic" because they regarded themselves as describing a reality that was itself a sustema. Pressed to explain what philosophers are, Pythagoras, according to legend, compared them to the theoroi or onlookers at the Olympic Games. As Werner Jaeger writes of the legend, "The comparison depends on the ambiguity of the word theorein, which means both watching a spectacle and contemplation and research in the ' theoretical' sense" (1962, 432). Reality is a sustema; the philosopher's account of reality is a reflection of it and thus is itself a sustema... (shrink)

Glenn Langford; Education and Values, Journal of Philosophy of Education, Volume 22, Issue 2, 30 May 2006, Pages 283, https://doi.org/10.1111/j.1467-9752.1988.t.

Glenn Langford; Education and Values, Journal of Philosophy of Education, Volume 22, Issue 2, 30 May 2006, Pages 283, https://doi.org/10.1111/j.1467-9752.1988.t.

Glenn Langford; Education is of the Whole Man, Journal of Philosophy of Education, Volume 13, Issue 1, 30 May 2006, Pages 65–72, https://doi.org/10.1111/j.1467-.

Glenn Langford; Education is of the Whole Man, Journal of Philosophy of Education, Volume 13, Issue 1, 30 May 2006, Pages 65–72, https://doi.org/10.1111/j.1467-.

Glenn Langford; Learning and Knowledge, Journal of Philosophy of Education, Volume 12, Issue 1, 30 May 2006, Pages 41–50, https://doi.org/10.1111/j.1467-9752.19.

Glenn Langford; Learning and Knowledge, Journal of Philosophy of Education, Volume 12, Issue 1, 30 May 2006, Pages 41–50, https://doi.org/10.1111/j.1467-9752.19.

Glenn Langford; Reply to Adrian Thatcher, Journal of Philosophy of Education, Volume 14, Issue 1, 30 May 2006, Pages 129–136, https://doi.org/10.1111/j.1467-975.

Glenn Langford; Reply to Adrian Thatcher, Journal of Philosophy of Education, Volume 14, Issue 1, 30 May 2006, Pages 129–136, https://doi.org/10.1111/j.1467-975.

Glenn Langford; Teaching as a Social Practice: a reply to S. B. Brooke-Norris, Journal of Philosophy of Education, Volume 20, Issue 2, 30 May 2006, Pages 235–24.

Glenn Langford; Teaching as a Social Practice: a reply to S. B. Brooke-Norris, Journal of Philosophy of Education, Volume 20, Issue 2, 30 May 2006, Pages 235–24.

Glenn Langford; XI—Rules, Moral Rules and the Subjects of Moral Predicates, Proceedings of the Aristotelian Society, Volume 69, Issue 1, 1 June 1969, Pages 187–.

Philosophical Psychology, Volume 24, Issue 3, Page 411-425, 01Jun2011.

The American Journal of Bioethics, Volume 11, Issue 6, Page 1-2, June 2011.

In lieu of an abstract, here is a brief excerpt of the content:Expressivism, Projectivism and SantayanaGlenn Tiller1. Santayana and Non-CognitivismThere is a general consensus that Santayana's metaethical analysis of moral judgments falls under the category of non-cognitivism. For instance, Timothy Sprigge writes that "Santayana's position shares some features with those attitudinist theories of ethics or values for which value judgments express attitudes rather than beliefs."1 In another example, John Lachs states that "Santayana agrees with the emotivists that moral terms have (...) no descriptive significance.2 And, in a similar vein, Thomas Munson writes that, for Santayana, "Ultimate Good is not an opinion hazarded."3 Each of these writers classifies Santayana as one who expounds the basic thesis of non-cognitivism that moral judgments are not descriptive, and hence neither true nor false.Certainly there is a wealth of textual evidence which suggests this interpretation. While it is true, as Sprigge comments, that Santayana offers only a collection of "scattered observations" on metaethical questions such as the nature of moral judgments, those observations amount to a clear affirmation of non-cognitivism.4 Below is a small but representative sample of Santayana's statements on this metaethical issue:Moral terms are caresses or insults and describe nothing.5In order to understand why Santayana thinks that moral terms "describe nothing" and that to "esteem a thing good" is never to assert a truth, we must turn to Santayana's account of valuation. Santayana's account of valuation turns on two principle ideas which lie at the heart of his moral theory. These two ideas can be set out as follows. First, there is the origin of morality, which takes us into Santayana's notion of the psyche. Second, there is the phenomenology of moral experience, which centers on Santayana's epiphenomenalist theory of consciousness. We turn first to Santayana's analysis of the origins of morality.2. The Psyche And The Origin Of MoralitySantayana vigorously rejects any Humean empiricist notion of the self as "nothing but a bundle or collection of different perceptions."8 Santayana objects that this phenomenalistic conception of the self leaves "no room for anything latent," and "in a living being, especially in a nice Englishman, what is latent is the chief thing."9 In Santayana's opinion, the assumptions of materialism must underlie any understanding we have of human nature. Thus, for Santayana the psyche is not some evanescent phenomenal self or passing datum, but rather "that habit in matter which forms the human body and the human mind."10 It is the principle of the long-term development of the individual, for contained within our psyche:There is our whole past, as it were, knocking at the door; there are our silent hopes; there are our future discourses and decisions working away, like actors rehearsing their parts, at their several fantastic arguments. All this is the psyche's work.11In sum, we can say that the psyche accounts for everything that is latent in the self; it embodies the potentiality of a human life from its beginning to its final development.To say that the psyche embodies all that is potential within us and accounts for our material development is to view the psyche as the ultimate origin of animal interests. In other words, we can say that the psyche accounts for all the physical predispositions of an animal life. These predispositions, such as the [End Page 240] habit of the body to repair itself after being injured, may be considered "animal interests" insofar as they represent the (innate) physical course of development of some animal life. Of course, here we are taking the terms "animal interests" and "predispositions" in a purely materialistic way; we are noting, to repeat Santayana's phrase, the "habit of matter."Accepting that the psyche accounts for all predispositions in animal life and that it is the source of animal interests has important implications. According to Santayana, this fact alone accounts for the origin of morality:This predetermined, specific direction of animal life is the key to everything moral; without it no external circumstance could be favourable or unfavourable to us; and spirit within us would have no reason to welcome, to deplore, or... (shrink)

Volume 19, Issue 9, September 2019, Page 58-60.

Charles R. Kesler, an eminent scholar and prodigious editor, has exerted a profound influence on the study of American politics and the practice of American conservatism. A precocious high-school student, he impressed a visiting William F. Buckley Jr. who, before becoming a life-long friend, wrote him a recommendation letter to Yale. Kesler asked for another--to Harvard, where he completed his undergraduate degree and earned a PhD under the legendary professor Harvey C. Mansfield. An early passion for political journalism, played out (...) largely on the pages of National Review, led Kesler to author an NR cover story on his third great influence, Harry V. Jaffa. Kesler became a faculty colleague of Jaffa's at Claremont McKenna College and Claremont Graduate University and is perhaps best known as the editorial helmsman of the Claremont Review of Books. The author of I Am the Change: Barack Obama and the Crisis of Liberalism and Crisis of the Two Constitutions: The Rise, Decline, and Recovery of American Greatness, Kesler also co-edited (with William F. Buckley Jr.) Keeping the Tablets: Modern American Conservative Thought. His edited volume of The Federalist Papers is the best-selling edition version in the country. In this volume, Kesler's students, friends, and colleagues commemorate his four-decade career as a teacher, mentor, and scholar. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 10.1 (2000) 103-108 [Access article in PDF] Letters "Small Sacrifices" in Stem Cell Research Madam: I agree with Professors McGee and Caplan (in their article "The Ethics and Politics of Small Sacrifices in Stem Cell Research," KIEJ, June 1999) that the question of the nature and status of the source of stem cells must be addressed. However, in their eagerness to convince us of (...) the smallness of the sacrifices, I think the authors use some unfortunate rhetorical devices and move much too quickly over some necessary distinctions.The rhetorical display is unfortunate if the article is intended to be a fair and rational development of an argument--e.g., those who hold a position in opposition to the authors do not argue they "inveigh." The section on the political area of the controversy seems particularly dismissive of other's positions.However, I will focus on just two areas where I think a more nuanced consideration would make the question of the moral legitimacy of the "small sacrifices" of embryos less obvious than the authors' rhetoric would suggest.First, they claim that opponents of such research assume some sort of "super status" for an embryo. The rights generally conceded to born human beings may not be as "weak" as they characterize. But even considering only the "negative right against unwarranted violence," I think the authors misdescribe the situation. Contrary to their assertion, I do not know when "adults and even children are... forced to give life... in the defense or at least interest of the community's highest ideals and most pressing interests" (p. 153). Could they be speaking of capital punishment, justified in the name of protecting the community? But then why mention children?It is true that not everyone can be guaranteed every means to preserving and enhancing life. But this limitation on positive rights is not a "forced giving." Adults may be compelled to risk life--e.g. in a draft for the sake of a war. But, again, the more or less justifiable imposition of a risk is not the same as selecting out one particular individual or class to be directly killed. Neither adults nor born children are compelled to be killed for the sake of organ "donation," even if a greater number might be saved. If one grants equivalent status to the embryo (as the authors seem to do here for the sake of argument), opponents do not have to claim a "super status" for embryos, just the ordinary human right not to be killed even for "compassionate" motives.A second area where I think the authors move too quickly is in their impoverished definition of the essential humanity of the early embryo as exhaustively represented by the physical structure of its DNA. The authors seem to recognize [End Page 103] that, ordinarily, there is more to personhood than sheer physical structure. For example, they mention memories and habits (p. 154). They could also speak of relationships, attitudes, and the like. Since an early embryo has no such components of personality as we experience it, the authors hold that its identity could only be contained in its DNA. Since this DNA is preserved, even spread far and wide, by the use of stem cells, it almost seems as if we are doing the early embryo a favor by breaking it up.However, just because the embryo does not have any conscious memories or other attributes of character or personality, that does not mean its identity is constituted only by its physical structure described statically. The early embryo is not just a bundle of discrete structures, and its DNA is not just an inert lump made up of certain smaller lumps. Both the embryo and its DNA are active. Thus the identity of even an early embryo includes both its current processes and the innate potential for further activity and development. Although lacking a conscious will, the early embryo is already in a sense an agent, already doing things--growing, changing, and heading toward something that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 19-35 [Access article in PDF] Moderate Formalism As a Theory of the Aesthetic Glenn Parsons Art history and art criticism explore, classify, and critique artworks from a number of perspectives. Their cultural, political, and moral significance are all of interest in this regard. This variety of perspectives notwithstanding, one way of considering artworks retains a central position for these disciplines. Despite (...) perennial shifting in conceptions of the purpose and nature of art, the aesthetic appreciation of art remains at the center of our practices for classifying and evaluating it. Without claiming that the aesthetic dimension of art is the only proper focus of its appreciation or that the aesthetic is a very clearly understood notion, we may say that some degree of contact with the aesthetic is what makes our consideration of an artwork an appreciation of it as art, rather than as historical artifact, manifestation of cultural ideology, and so on.In light of the central position of aesthetic appreciation in art history and criticism, an important concern regarding aesthetic education is what sort of knowledge, if any, is required for appropriate aesthetic appreciation of an artwork. Is knowledge of the historical context of an artwork required for appropriate aesthetic appreciation of it, or is its historical dimension a separate matter, perhaps worthy of appreciation in its own right but not relevant to the appreciation of the artistic achievement of the work? Virtually all modern theories of the aesthetic agree that in order to appreciate an artwork aesthetically, we need to perceive attentively certain of its perceptual properties, such as its shape and color. They differ, however, on whether such attentive perception is sufficient for appropriate aesthetic appreciation. On the one hand we have cognitivist views, which assert that, in addition to this sort of attentive perception, certain kinds of knowledge about the object of appreciation are required for appropriate aesthetic appreciation. On the other hand we have non-cognitivist views, which deny that such knowledge is necessary for appropriate aesthetic appreciation. According to the latter, the aesthetic qualities of an artwork, such as its gracefulness, [End Page 19] are formal in the sense that they depend only upon those perceptual properties, such as color, shape, and size, that constitute the "sensory surface" of the work.1 These properties, apparent to the attentive observer, are the only properties of the object to which one need attend in order to appreciate its gracefulness. Other properties of the painting, such as its depicting German peasants or having been rendered by a communist, are irrelevant to its aesthetic qualities, and knowledge about them is not required for its appropriate aesthetic appreciation. Today this non-cognitivist position is generally called formalism.2In the twentieth century, philosophical aesthetics largely rejected such views in favor of models of aesthetic appreciation with a richer cognitive element. This movement away from formalism has a number of dimensions, including the efforts of feminists to establish the aesthetic value of activist art, the desire to make sense of well-established practices of art appreciation, a growing awareness of the role that beliefs play in our aesthetic responses, the effort to do justice to the aesthetic character of the natural environment, and conceptual difficulties internal to formalism itself.3 Recently, however, some philosophers have revived the spirit, if not the letter, of formalism. Acknowledging widespread criticism of early formalists, such as Clive Bell, they concede that these theorists overstated the case when they claimed that all aesthetic qualities depend on nothing beyond the sensory surface of the object.4 The new formalists, in contrast, claim only that some aesthetic qualities are of this character. They call this doctrine moderate formalism, in contrast to the extreme formalism defended by earlier formalists.5By adopting this more modest position, moderate formalists can accommodate many of the criticisms that led to the decline of extreme formalism. However, if it turns out that only a handful of relatively unimportant aesthetic qualities are formal in nature, then moderate formalism would hardly make an impressively "formalist" theory of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 19-35 [Access article in PDF] Moderate Formalism As a Theory of the Aesthetic Glenn Parsons Art history and art criticism explore, classify, and critique artworks from a number of perspectives. Their cultural, political, and moral significance are all of interest in this regard. This variety of perspectives notwithstanding, one way of considering artworks retains a central position for these disciplines. Despite (...) perennial shifting in conceptions of the purpose and nature of art, the aesthetic appreciation of art remains at the center of our practices for classifying and evaluating it. Without claiming that the aesthetic dimension of art is the only proper focus of its appreciation or that the aesthetic is a very clearly understood notion, we may say that some degree of contact with the aesthetic is what makes our consideration of an artwork an appreciation of it as art, rather than as historical artifact, manifestation of cultural ideology, and so on.In light of the central position of aesthetic appreciation in art history and criticism, an important concern regarding aesthetic education is what sort of knowledge, if any, is required for appropriate aesthetic appreciation of an artwork. Is knowledge of the historical context of an artwork required for appropriate aesthetic appreciation of it, or is its historical dimension a separate matter, perhaps worthy of appreciation in its own right but not relevant to the appreciation of the artistic achievement of the work? Virtually all modern theories of the aesthetic agree that in order to appreciate an artwork aesthetically, we need to perceive attentively certain of its perceptual properties, such as its shape and color. They differ, however, on whether such attentive perception is sufficient for appropriate aesthetic appreciation. On the one hand we have cognitivist views, which assert that, in addition to this sort of attentive perception, certain kinds of knowledge about the object of appreciation are required for appropriate aesthetic appreciation. On the other hand we have non-cognitivist views, which deny that such knowledge is necessary for appropriate aesthetic appreciation. According to the latter, the aesthetic qualities of an artwork, such as its gracefulness, [End Page 19] are formal in the sense that they depend only upon those perceptual properties, such as color, shape, and size, that constitute the "sensory surface" of the work.1 These properties, apparent to the attentive observer, are the only properties of the object to which one need attend in order to appreciate its gracefulness. Other properties of the painting, such as its depicting German peasants or having been rendered by a communist, are irrelevant to its aesthetic qualities, and knowledge about them is not required for its appropriate aesthetic appreciation. Today this non-cognitivist position is generally called formalism.2In the twentieth century, philosophical aesthetics largely rejected such views in favor of models of aesthetic appreciation with a richer cognitive element. This movement away from formalism has a number of dimensions, including the efforts of feminists to establish the aesthetic value of activist art, the desire to make sense of well-established practices of art appreciation, a growing awareness of the role that beliefs play in our aesthetic responses, the effort to do justice to the aesthetic character of the natural environment, and conceptual difficulties internal to formalism itself.3 Recently, however, some philosophers have revived the spirit, if not the letter, of formalism. Acknowledging widespread criticism of early formalists, such as Clive Bell, they concede that these theorists overstated the case when they claimed that all aesthetic qualities depend on nothing beyond the sensory surface of the object.4 The new formalists, in contrast, claim only that some aesthetic qualities are of this character. They call this doctrine moderate formalism, in contrast to the extreme formalism defended by earlier formalists.5By adopting this more modest position, moderate formalists can accommodate many of the criticisms that led to the decline of extreme formalism. However, if it turns out that only a handful of relatively unimportant aesthetic qualities are formal in nature, then moderate formalism would hardly make an impressively "formalist" theory of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 19-35 [Access article in PDF] Moderate Formalism As a Theory of the Aesthetic Glenn Parsons Art history and art criticism explore, classify, and critique artworks from a number of perspectives. Their cultural, political, and moral significance are all of interest in this regard. This variety of perspectives notwithstanding, one way of considering artworks retains a central position for these disciplines. Despite (...) perennial shifting in conceptions of the purpose and nature of art, the aesthetic appreciation of art remains at the center of our practices for classifying and evaluating it. Without claiming that the aesthetic dimension of art is the only proper focus of its appreciation or that the aesthetic is a very clearly understood notion, we may say that some degree of contact with the aesthetic is what makes our consideration of an artwork an appreciation of it as art, rather than as historical artifact, manifestation of cultural ideology, and so on.In light of the central position of aesthetic appreciation in art history and criticism, an important concern regarding aesthetic education is what sort of knowledge, if any, is required for appropriate aesthetic appreciation of an artwork. Is knowledge of the historical context of an artwork required for appropriate aesthetic appreciation of it, or is its historical dimension a separate matter, perhaps worthy of appreciation in its own right but not relevant to the appreciation of the artistic achievement of the work? Virtually all modern theories of the aesthetic agree that in order to appreciate an artwork aesthetically, we need to perceive attentively certain of its perceptual properties, such as its shape and color. They differ, however, on whether such attentive perception is sufficient for appropriate aesthetic appreciation. On the one hand we have cognitivist views, which assert that, in addition to this sort of attentive perception, certain kinds of knowledge about the object of appreciation are required for appropriate aesthetic appreciation. On the other hand we have non-cognitivist views, which deny that such knowledge is necessary for appropriate aesthetic appreciation. According to the latter, the aesthetic qualities of an artwork, such as its gracefulness, [End Page 19] are formal in the sense that they depend only upon those perceptual properties, such as color, shape, and size, that constitute the "sensory surface" of the work.1 These properties, apparent to the attentive observer, are the only properties of the object to which one need attend in order to appreciate its gracefulness. Other properties of the painting, such as its depicting German peasants or having been rendered by a communist, are irrelevant to its aesthetic qualities, and knowledge about them is not required for its appropriate aesthetic appreciation. Today this non-cognitivist position is generally called formalism.2In the twentieth century, philosophical aesthetics largely rejected such views in favor of models of aesthetic appreciation with a richer cognitive element. This movement away from formalism has a number of dimensions, including the efforts of feminists to establish the aesthetic value of activist art, the desire to make sense of well-established practices of art appreciation, a growing awareness of the role that beliefs play in our aesthetic responses, the effort to do justice to the aesthetic character of the natural environment, and conceptual difficulties internal to formalism itself.3 Recently, however, some philosophers have revived the spirit, if not the letter, of formalism. Acknowledging widespread criticism of early formalists, such as Clive Bell, they concede that these theorists overstated the case when they claimed that all aesthetic qualities depend on nothing beyond the sensory surface of the object.4 The new formalists, in contrast, claim only that some aesthetic qualities are of this character. They call this doctrine moderate formalism, in contrast to the extreme formalism defended by earlier formalists.5By adopting this more modest position, moderate formalists can accommodate many of the criticisms that led to the decline of extreme formalism. However, if it turns out that only a handful of relatively unimportant aesthetic qualities are formal in nature, then moderate formalism would hardly make an impressively "formalist" theory of the... (shrink)

Traditionally, analytic philosophers writing on aesthetics have given short shrift to nature. The last thirty years, however, have seen a steady growth of interest in this area. The essays and books now available cover central philosophical issues concerning the nature of the aesthetic and the existence of norms for aesthetic judgement. They also intersect with important issues in environmental philosophy. More recent contributions have opened up new topics, such as the relationship between natural sound and music, the beauty of animals, (...) and the aesthetics of gardens. Using these materials, it is now easy to include a module on the aesthetics of nature as one part of an introductory course on aesthetics, or even to design an entire upper-level undergraduate or graduate seminar around the topic. Author Recommends: Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Readers coming fresh to contemporary debates may find the lack of attention to natural beauty in twentieth-century philosophy somewhat puzzling. This paper, which defends the view that nature cannot be aesthetically appreciated as such, presents this attitude in a particularly pure form. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This seminal essay marks the beginning of contemporary discussion of the aesthetics of nature. Many of its ideas and themes continue to reverberate in contemporary debates. Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture (London: Routledge, 2000). This volume is a collection of Carlson's influential essays on environmental aesthetics. Chapters 4 and 5, 'Appreciation and the Natural Environment' and 'Nature, Aesthetic Judgment, and Objectivity', set the agenda for much subsequent discussion in the aesthetics of nature. Chapter 6, 'Nature and Positive Aesthetics', develops and defends the controversial idea that nature, unlike art, is always aesthetically good. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). In this paper, Berleant presents his influential idea of an 'engaged aesthetics' for nature. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. This article develops Saito's idea that ethical considerations play a critical role in the aesthetics of nature, and presents a novel argument for Positive Aesthetics for nature. Malcolm Budd, The Aesthetic Appreciation of Nature: Essays on the Aesthetics of Nature (Oxford: Oxford University Press, 2002). This book collects Budd's papers on the aesthetics of nature, which contain important criticisms of Carlson's natural environmental model and the notion of Positive Aesthetics for nature. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). This paper argues for the importance of aesthetic appreciation that emphasizes emotional responses to nature. A philosophically sophisticated and influential treatment by a leading aesthetician. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. In this essay, an environmental philosopher gives careful and thorough consideration to the place of aesthetic considerations in environmental protection, focusing on Carlson's work. John Andrew Fisher, 'What the Hills are Alive With: In Defense of the Sounds of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 167–79. Reprinted in The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004). Most discussions of nature aesthetics focus on visual experiences; this essay is the first philosophical study of the aesthetics of natural sounds. A nuanced and original paper. Allen Carlson and Arnold Berleant. 'Introduction: The Aesthetics of Nature'. The Aesthetics of Natural Environments. Eds. Allen Carlson and Arnold Berleant (Peterborough, Ontario: Broadview Press, 2004), 11–42. A comprehensive review of the literature, this essay contains the best available bibliography on the subject. Online Materials: http://plato.stanford.edu/entries/environmental-aesthetics/ Environmental Aesthetics: Allen Carlson's entry in the Stanford Encyclopedia of Philosophy. http://www.aesthetics-online.org/articles/index.php?articles_id=17 Teaching Environmental Aesthetics: Allen Carlson's article on the American Society for Aesthetics Web site. http://www.uqtr.uquebec.ca/AE/Vol_6/ Volume 6 of AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique: Papers by Thomas Heyd and Ira Newman on Allen Carlson's book Aesthetics and the Environment, along with a response from Carlson. http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=400 Paradoxes and Puzzles: Appreciating Gardens and Urban Nature: An essay by Stephanie Ross in the online journal Contemporary Aesthetics. Sample Syllabus for a three-week module in an undergraduate aesthetics course: This three week module can easily be adapted to fit shorter available class time or reduced reading expectations for students. A lighter two-week module, for instance, would drop the Hepburn reading and do either the Carroll essay or the Saito essay, but not both. Note that all readings for this module are reprinted in Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Reading: Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Discussion of Hepburn's essay will allow the instructor to bring out the distinctive issues and themes of the aesthetics of nature. Week 2: Objectivity or Subjectivity? Readings: Allen Carlson, 'Appreciation and the Natural Environment'. Journal of Aesthetics and Art Criticism 37 (1979): 267–76. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. This section covers two very different approaches to thinking about the aesthetic appreciation of nature. Consideration of these provides an opportunity for students to reflect on nature's relationship to art, and on the character of aesthetic experience itself. Week 3: Pluralistic Approaches Readings: Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. This section considers approaches that are motivated by perceived limitations of the two approaches mentioned above. In discussing these, students will focus on the significance, for the aesthetics of nature, of emotion and also of broader ethical considerations. Sample Syllabus for an upper-level undergraduate or graduate seminar: Books on Syllabus: Glenn Parsons, Aesthetics and Nature [AN] (London: Continuum Press, forthcoming November 2008). Allen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art and Architecture [AE] (London: Routledge, 2000). Allen Carlson and Arnold Berleant (eds.), The Aesthetics of Natural Environments [ANE] (Peterborough, Ontario: Broadview Press, 2004). Week 1: Introduction Parsons, AN, ch. 1. Allen Carlson, 'Environmental Aesthetics'. The Routledge Companion to Aesthetics. Eds. Berys Gaut and Dominic Lopes (London: Routledge, 2001), 423–36. Don Mannison, 'Comments Stimulated by Reinhardt's Remarks: A Prolegomenon to a Human Chauvinistic Aesthetic'. Environmental Philosophy. Eds. Don Mannison, Michael McRobbie, and Richard Routley (Canberra: Australian National University, 1980), 212–16. Ronald Hepburn, 'Contemporary Aesthetics and the Neglect of Natural Beauty'. British Analytical Philosophy. Eds. Bernard Williams and Alan Montefiore (London: Routledge and Kegan Paul, 1966), 285–310. Reprinted in ANE. Week 2: Imagination Parsons, AN, ch. 2. Thomas Heyd, 'Aesthetic Appreciation and the Many Stories About Nature'. British Journal of Aesthetics 41 (2001): 125–37. Reprinted in ANE. Emily Brady, 'Imagination and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 139–47. Reprinted in ANE. Marcia Eaton, 'Fact and Fiction in the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 149–56. Reprinted in ANE. Week 3: Formalism Parsons, AN, ch. 3. Carlson, 'Formal Qualities and the Natural Environment', AE, ch. 3. Allen Carlson, 'On the Possibility of Quantifying Scenic Beauty'. Landscape Planning 4 (1977): 131–72. Ira Newman, 'Reflections on Allen Carlson's Aesthetics and the Environment'. AE: Canadian Aesthetics Journal /Revue canadienne d'esthetique 6 (2001) http://www.uqtr.uquebec.ca/AE/Vol_6/Carlson/newman.html>. Nick Zangwill, 'Formal Natural Beauty'. Proceedings of the Aristotelian Society 21 (2001): 209–24. Week 4: Science and Nature Aesthetics Parsons, AN, ch. 4. Aldo Leopold, 'Country'. A Sand County Almanac, with Essays on Conservation from Round River (New York, NY: Ballantine Books, 1966), 177–80. Carlson, 'Appreciation and the Natural Environment', AE, ch. 4. Carlson, 'Nature, Aesthetic Judgment, and Objectivity', AE, ch. 5. Glenn Parsons, 'The Aesthetics of Nature'. Philosophy Compass 2 (2007): 358–72. Week 5: Positive Aesthetics Carlson, 'Nature and Positive Aesthetics', AE, ch. 6. Eugene Hargrove, Foundations of Environmental Ethics (Denton, TX: Environmental Ethics Books, 1996), ch. 6. Yuriko Saito, 'The Aesthetics of Unscenic Nature'. Journal of Aesthetics and Art Criticism 56 (1998): 101–11. Malcolm Budd, 'The Aesthetics of Nature'. Proceedings of the Aristotelian Society 100 (2000): 137–57. Glenn Parsons, 'Nature Appreciation, Science and Positive Aesthetics'. British Journal of Aesthetics 42 (2002): 279–95. Week 6: Animals Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]), Pt. III, sec. VI. Holmes Rolston III, 'Beauty and the Beast: Aesthetic Experience of Wildlife'. Valuing Wildlife: Economic and Social Perspectives. Eds. Daniel J. Decker and Gary R. Goff (Boulder, CO: Westview Press, 1987), 187–96. Glenn Parsons, 'The Aesthetic Value of Animals'. Environmental Ethics 27 (2007): 151–69. Week 7: Pluralism Parsons, AN, ch. 5. Noël Carroll, 'On Being Moved by Nature: Between Religion and Natural History'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 244–66. Reprinted in ANE. Yuriko Saito, 'Appreciating Nature on its Own Terms'. Environmental Ethics 20 (1998): 135–49. Reprinted in ANE. Ronald Hepburn, 'Nature Humanized: Nature Respected'. Environmental Values 7 (1998): 267–79. Ronald Hepburn, 'Trivial and Serious in Aesthetic Appreciation of Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 65–80. Glenn Parsons and Allen Carlson, 'New Formalism and the Aesthetic Appreciation of Nature'. Journal of Aesthetics and Art Criticism 62 (2004): 363–76. Week 8: Engagement Parsons, AN, ch. 6. Arnold Berleant, 'The Aesthetics of Art and Nature'. Landscape, Natural Beauty and the Arts. Eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1993), 228–43. Reprinted in ANE. Cheryl Foster, 'The Narrative and the Ambient in Environmental Aesthetics'. Journal of Aesthetics and Art Criticism 56 (1998): 127–37. Reprinted in ANE. Allen Carlson, 'Aesthetics and Engagement'. British Journal of Aesthetics 33 (1993): 220–27. Week 9: The Sublime Immanuel Kant, Critique of the Power of Judgment. Trans. P. Guyer and E. Matthews (Cambridge University Press, 2000 [1790]). Excerpts from sections 23–9. Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. James T. Boulton (Notre Dame, IN: University of Notre Dame Press, 1968 [1757]). Excerpts from Pt. II, sections 1–8. Ronald Hepburn, 'The Concept of the Sublime: Has it any Relevance for Philosophy Today?'. Dialectics and Humanism 15 (1988): 137–55. Stan Godlovitch, 'Icebreakers: Environmentalism and Natural Aesthetics'. Journal of Applied Philosophy 11 (1994): 15–30. Reprinted in ANE. Malcolm Budd, 'Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature. Part I: The Sublime in Nature'. British Journal of Aesthetics 38 (1998): 233–50. Week 10: Aesthetic Preservation Parsons, AN, ch. 7. Janna Thompson, 'Aesthetics and the Value of Nature'. Environmental Ethics 17 (1995): 291–305. Holmes Rolston III, 'From Beauty to Duty: Aesthetics of Nature and Environmental Ethics'. Environment and the Arts: Perspectives on Environmental Aesthetics. Ed. Arnold Berleant (Aldershot, UK: Ashgate, 2002), 127–41. Ned Hettinger, 'Allen Carlson's Environmental Aesthetics and Protection of the Environment'. Environmental Ethics 27 (2005): 57–76. Keekok Lee, 'Beauty for Ever?'. Environmental Values 4 (1995): 213–25. Week 11: Gardens Parsons, AN, ch. 8. Mara Miller, The Garden as an Art (Albany, NY: State University of New York Press, 1993), ch. 1. Mara Miller, 'Gardens as Works of Art: The Problem of Uniqueness'. British Journal of Aesthetics 26 (1986): 252–6. Stephanie Ross, What Gardens Mean (Chicago, IL: University of Chicago Press, 1998), chs. 1, 7. Tom Leddy, 'Gardens in an Expanded Field'. British Journal of Aesthetics 28 (1988): 327–40. David Cooper, 'In Praise of Gardens'. British Journal of Aesthetics 43 (2003): 101–13. Week 12: Art in Nature Parsons, AN, ch. 9. Carlson, 'Is Environmental Art an Aesthetic Affront to Nature?', AE, ch. 10. Sheila Lintott, 'Ethically Evaluating Land Art: Is It Worth It?'. Ethics, Place & Environment 10 (2007): 263–77. Emily Brady, 'Aesthetic Regard for Nature in Environmental and Land Art'. Ethics, Place & Environment 10 (2007): 287–300. Focus Questions1. Are there any important differences between the aesthetic appreciation of art and the aesthetic appreciation of nature? If so, what are they?2. Is preserving nature for its aesthetic value a coherent idea?3. What is the ugliest natural thing or place you can think of? How might proponents of Positive Aesthetics for nature deal with your example?4. Does the concept of the sublime have any significance for our contemporary experience of nature? If it does, what relation does it bear to our aesthetic appreciation of nature?5. Watch Rivers and Tides (2001), the documentary film about the British environmental artist Andy Goldsworthy. Ethically speaking, how do you think we ought to regard his art-making? (shrink)

Hastings Center Report, Volume 52, Issue 2, Page 10-14, March‐April 2022.

The European Legacy, Volume 17, Issue 3, Page 419-420, June 2012.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

is the newest section of CambridgeQuarterly. Twice each year these pages will feature a colloquium on a breaking issue in bioethics.

Metaphilosophy, Volume 53, Issue 1, Page 38-44, January 2022.

Invalid journals are recent challenges in the academic world and many researchers are unacquainted with the phenomenon. The number of victims appears to be accelerating. Researchers might be suspicious of predatory journals because they have unfamiliar names, but hijacked journals are imitations of well-known, reputable journals whose websites have been hijacked. Hijacked journals issue calls for papers via generally laudatory emails that delude researchers into paying exorbitant page charges for publication in a nonexistent journal. This paper presents a method (...) for detecting hijacked journals by using a classification algorithm. The number of published articles exposing hijacked journals is limited and most of them use simple techniques that are limited to specific journals. Hence we needed to amass Internet addresses and pertinent data for analyzing this type of attack. We inspected the websites of 104 scientific journals by using a classification algorithm that used criteria common to reputable journals. We then prepared a decision tree that we used to test five journals we knew were authentic and five we knew were hijacked. (shrink)

The American Journal of Bioethics, Volume 12, Issue 3, Page 46-48, March 2012.

In 1957, Edgar Lobel published an Oxyrhynchus papyrus containing anonymous commentaries to poems of Alcman which has not ceased to fascinate philologists and historians of ancient philosophy.

Nanotechnology: Considering the Complex Ethical, Legal, and Societal Issues with the Parameters of Human Performance Content Type Journal Article Pages 265-275 DOI 10.1007/s11569-008-0047-6 Authors Linda MacDonald Glenn, Albany Medical College/Center Alden March Bioethics Institute Albany NY 12208 USA Jeanann S. Boyce, Montgomery College Dept. of Computer Science and Business 7600 Takoma Avenue Takoma Park MD 20912 USA Journal NanoEthics Online ISSN 1871-4765 Print ISSN 1871-4757 Journal Volume Volume 2 Journal Issue Volume 2, Number 3.

Andree Troost, What is Reformational Philosophy? An Introduction to the Cosmonomic Philosophy of Herman Dooyeweerd.

Volume 19, Issue 11, November 2019, Page W1-W2.

Originally published in 1968, this volume raises perennial questions about the purposes of education, authority and freedom in the classroom, and the structure of the curriculum. The educational vision proposed in these pages seeks ultimately to help "reconcile the individual and his world.".

Invalid journals are recent challenges in the academic world and many researchers are unacquainted with the phenomenon. The number of victims appears to be accelerating. Researchers might be suspicious of predatory journals because they have unfamiliar names, but hijacked journals are imitations of well-known, reputable journals whose websites have been hijacked. Hijacked journals issue calls for papers via generally laudatory emails that delude researchers into paying exorbitant page charges for publication in a nonexistent journal. This paper presents a method (...) for detecting hijacked journals by using a classification algorithm. The number of published articles exposing hijacked journals is limited and most of them use simple techniques that are limited to specific journals. Hence we needed to amass Internet addresses and pertinent data for analyzing this type of attack. We inspected the websites of 104 scientific journals by using a classification algorithm that used criteria common to reputable journals. We then prepared a decision tree that we used to test five journals we knew were authentic and five we knew were hijacked. (shrink)

Reading and reflecting on real cases helps ethics come alive for students. Good cases grip our attention, engage our imagination, and show the real-life implications of abstract ethical theories, ideals, commitments, and policies. Finding good case studies is both difficult and time-consuming for instructors, so I was excited to learn about Glenn McGee’s book Bioethics for Beginners: 60 Cases and Cautions from the Moral Frontier of Healthcare. According to the publisher, its target audiences are “courses in bioethics, medical ethics, (...) and applied ethics.” The book sounded promising.McGee’s book contains ten chapters, or “cautions,” plus a conclusion. Each chapter consists of anywhere from three to nine loosely associated “cases.” The cases average about one and a half pages each, but they vary significantly in length. The shortest cases are less than a page while the longest is twelve pages .All sixty cases, as well as the two sections that compose the conclus .. (shrink)

Glenn Alexander Magee's controversial book argues that Hegel was decisively influenced by the Hermetic tradition, a body of thought with roots in Greco-Roman ...

Modern scientific and medical advances bring new complexity and urgency to ethical issues in health care and biomedical research. This book applies the American philosophical theory of pragmatism to such bioethics. Critics of pragmatism argue that it lacks a universal moral foundation. Yet it is this very lack of a metaphysical dividing line between facts and values that makes pragmatism such a rigorous and appropriate method for solving problems in bioethics. For pragmatism, ethics is a way of satisfying the complex (...) demands of multiple individuals and groups in a contingent and changing world. Pragmatism also demands careful attention to the ways in which scientific advances change our values and ethics.The essays in this book present different approaches to pragmatism and different ways of applying pragmatism to scientific and medical matters. They use pragmatism to guide thinking about such timely topics as stem cell research, human cloning, genetic testing, human enhancement, and care for the poor and aging. This new edition contains three new chapters, on difficulties with applying pragmatism to law and bioethics, on helping people to die, and on embryonic stem cell research. (shrink)

When considering the value of friendship, most philosophers ignore the negatives. Most assume that humans need friends to flourish, and some argue that friendships can be good, no matter the risks entailed. This makes conversations about the value of friendship one-sided. Here, I argue that Cynics and Pessimists have an important view on friendship, despite it being ignored. They hold that: (a) friendship is unnecessary for flourishing, and (b) friendship presents ethical risks, especially to one’s own self-sufficiency. I defend these (...) views. Then I conclude with reflections on why Cynics and Pessimists actually make great friends. By helping people to focus on vulgar human nature and the flaws that humans have, they create an unpretentious basis for friendship. (shrink)

Walter Adams and James W. Brock's Dangerous Pursuits offers conventional wisdom regarding the alleged evils of the corporate restructuring and financial innovations of the 1980s. Adams and Brock disregard how economic regulations enacted in the 1930s and 1940s led to passive investors and managerial control that furthered conglomerate acquisitions strategies of the 1960s and 1970s. This situation was undone in the 1980s with the rise of active investors and entrepreneurs who attempted to wrest control from established managers and companies so (...) as to focus corporations on single lines of business, increasing efficiency and performance. The employment, productivity, consumer, and budgetary impacts of mergers and acquisitions were much more positive than Adams and Brock allow. (shrink)

Expounds on the relationship between theory and practice as applied, adjusted, and inaugurated in health care.

This paper does two things. First, it interprets the work of W. E. B. Du Bois to reveal that the meanings of race terms are grounded by both a historical and an aspirational component. Race terms refer to a backward-looking component that traces the history of the group to its present time, as well as a forward-looking component that sets out values and goals for the group. Race terms thus refer to a complex cluster of concepts that involve biological, sociological, (...) historical, moral, and political properties. Second, the paper defends W. E. B. Du Bois’s conservationist thesis about races, which holds that we should maintain race talk and racial distinctions. But instead of offering philosophical evidence, this paper defends the plausibility of the conservationist thesis with evidence from contemporary biology and psychology. It argues that, instead of eliminating race terms or concepts, we should conserve and revise them. (shrink)