Norman tries to link the ecological and constructivist approaches to the dorsal and ventral pathways of the visual system. Such a link implies that the distinction is not only one of approach, but that different issues are studied. Norman identifies these issues as perception and action. The influence of contextual illusions is critical for Norman's arguments. We point out that fast (dorsal) actions can be fooled by contextual illusions while (ventral) perceptual judgements can be insensitive to them. We conclude that (...) both approaches can, in principle, be used to study visual information processing in both pathways. (shrink)

In a series of pre-registered studies, we explored (a) the difference between people’s intuitions about indeterministic scenarios and their intuitions about deterministic scenarios, (b) the difference between people’s intuitions about indeterministic scenarios and their intuitions about neurodeterministic scenarios (that is, scenarios where the determinism is described at the neurological level), (c) the difference between people’s intuitions about neutral scenarios (e.g., walking a dog in the park) and their intuitions about negatively valenced scenarios (e.g., murdering a stranger), and (d) the difference (...) between people’s intuitions about free will and responsibility in response to first-person scenarios and third-person scenarios. We predicted that once we focused participants’ attention on the two different abilities to do otherwise available to agents in indeterministic and deterministic scenarios, their intuitions would support natural incompatibilism—the view that laypersons judge that free will and moral responsibility are incompatible with determinism. This prediction was borne out by our findings. (shrink)

This book explores the relation of John Henry Newman's idea of conscience to what he called conscience "in the ordinary sense of the word," examining such neglected difficulties in this area as the relation between individual conscience and the authority of the church, and rights of conscience.

Shaftesbury believed that the height of virtue was impartial love for all of humanity. But Shaftesbury also harboured grave doubts about our ability to develop such an expansive love. In The Moralists, Shaftesbury addressed this problem. I show that while it may appear on the surface that The Moralists solves the difficulty, it in fact remains unresolved. Shaftesbury may not have been able to reconcile his view of the content of virtue with his view of our motivational psychology.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

The scholar who translated The Edicts of Ashoka into English has now set out to present and critically analyze some of "The Great Ideas of Indian Culture." While apparently engaging in a search for the ever-elusive "Perennial Philosophy" by invoking Plato, Aristotle, Kant, Hegel, et al., the author's comparative statements come off as being little more than decorative paraphernalia. He submits too completely to the mystique of the Socratic dialogue in claiming that "the outstanding characteristic of Indian thought is dialogue". (...) We can agree that one does find a type of verbal exchange which might merit the designation of "conversation," but not dialogue. At no place in either the Upanisads or Gïta does the student ever feel the slightest compulsion to question or contradict the words of his guru. Nikam also commits the grave philosophical indiscretion of using Platonic language about "universals" to speak of the Vedäntin "Universal Absolute,". This sort of cross-cultural comparison is extremely misleading in cases where the ideas being compared are similar or identical in appearance but dissimilar in substance. Even so, the book is extremely informative, and, in places, inspiring, in its illumination of the subtler dimensions of Indian thought. Western philosophers and interested lay-students should find this small volume most helpful in gaining a succinct but comprehensive presentation of the "Great Ideas of Indian Culture."--J. B. L. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 475 whereas in some texts Aquinas explicitly teaches that the higher senses of vision and hearing are the ones that mainly (praecipue, principaliter) lead to aesthetic experience.t5 Moreover, the statement that only in the thirteenth century was the question of the distinction between the higher and lower senses explicitly raised (p. l13f.), is true only if the author meant to exclude the pre-medieval or patristic as well (...) as the ancient period of philosophy.16 Finally, there is one technical weakness in this book that cannot be left unmentioned. The overwhelming majority of references are not to the original medieval texts treated and/or quoted in the three-volume edition, but to the number of volume and page in that edition. Thus the reader must be both familiar with French and in possession of the original three-volume work, or remain hopelessly frustrated every time he wishes to consult the original texts or at least know which texts are being mentioned. Yet, if one knows French, he does not need the English translation; and if he is also fortunate enough to have access to the original three-volume version, he will not need the abridged version of the original work at all. For this reason, should there be a second edition of this translation, the references should be changed from the l~tudes to the original medieval works. Although the negative remarks are more lengthy in this review than the positive evaluation is, it would be a grave mistake to conclude from this that the defects outweigh the value of the book. As a matter of fact, upon finishing the reading of this translation of De Bruyne's work, this reviewer was left with the conviction that, in the final balance, the reader can only greatly benefit from this work, and we all owe gratitude to the translator for having made this highly informative work available in the English language. FRANCIS J. KOVACH University of Oklahoma 1~ Summ. theol. I-II,27,1,ad 3; In Psalm. 44,2. ~6 Cf. Plato, Hipp. maL 298 A; Gorg. 474 D; Leg. XII, 961 D; Aristotle, De an. III,3, 429a 3; Augustine, De lib. arb. II,7, 16-19; 14,38; De ord. II,ll, etc. Le origini del metodo analitico: il Cinquecento. By Angelo Crescini. (Udine: Del Bianco, 1965. Published by the Istituto di Filosofia, Facnlt~ di Lettere e Filosofia of the Universit~ degli Studi di Trieste. Pp. 340. L 5,000) Professor Crescini has certainly picked a topic of great interest upon which to write. Recent students of Renaissance logic such as N. W. Gilbert, V. Mufioz Delgado, W. Ong, G. Papuli, W. Risse, and C. Vasoli have pointed out the vitality and significance associated with the development of the logical thought of the period. The general question of methodology has produced an enormous scholarly literature in recent years,I but much remains to be done before we fully understand how various methodologies have evolved and what relation philosophical discussions of method have had to the actual practice of science. Therefore, it would be most desirable to have a 1 For further information see Laurens Laudan, "Theories of Scientific Method from Plato to Mach: A Bibliographical Review," History of Science 7 (1968), 1-63. 476 HISTORY OF PHILOSOPHY detailed, comprehensive, and accurate study of the evolution of analytic method during the sixteenth century, particularly in view of the significance taken on by such a methodology with the 'rise of modern science'. With such a background in view the reviewer comes to this volume in anticipation of being generally enlightened on various matters. Unfortunately, Crescini's book is on the whole disappointing, although nearly everyone will find the odd bit of information of which he was not previously aware. It definitely does not, however, establish a solid foundation for later studies. The book is organized into three principal parts, dealing with the development of the analytic method in logic (pp. 21-188), in the natural sciences (pp. 189-284), and in mathematics (vv. 285-328). The first section treats discussions of the topic among writers on logical subject, under which heading are included 'humanist' logicians such as... (shrink)

This article provides a survey of Walker Percy's criticism of what Pope Benedict XVI calls “scientificity,” which entails a constriction of the dynamic interaction of faith and reason. The process can result in the diminishment of ethical considerations raised by science's impact on public policy. Beginning in the 1950s, Percy begins speculating about the negative influence of scientificity. The threat of a political regime using weapons of mass destruction is only one of several menacing developments. The desacrilization of human life (...) from cradle to grave leads Percy to assert that modern science's impact is often radically incoherent. In The Moviegoer, Percy finds his existential and theistic voice that would enable him to advance his critique of science. (shrink)

An award-wining biologist takes us on the dramatic expeditions that unearthed the history of life on our planet. Just 150 years ago,most of our world was an unexplored wilderness.Our sense of how old it was? Vague and vastly off the mark. And our sense of our own species’ history? A set of fantastic myths and fairy tales. Fossils had been known for millennia, but they were seen as the bones of dragons and other imagined creatures. In the tradition of The (...) Microbe Hunters and Gods, Graves, and Scholars, Sean Carroll’s Remarkable Creatures celebrates the pioneers who replaced our fancies with the even more amazing true story of how our world evolved. Carroll recounts the most important discoveries in two centuries of national history — from Darwin’s trip around the world to CharlesWalcott’s discovery of pre-Cambrian life in the Grand Canyon; from Louis and Mary Leakey’s investigation of our deepest past in East Africa to the trailblazers in modern laboratories who have located a time clock in our DNA. Join him in a rousing voyage of discovery, from the epic journeys of pioneering naturalists to the breakthroughs making headlines today. (shrink)

The Wadsworth series of Studies in Philosophical Criticism under the general editorship of Alexander Sesonske, presents collections of critical writings related to a single classical philosophical text for use in undergraduate teaching. Although others of Berkeley's writings are drawn upon by various authors, the selections in this volume are divided into five problem areas which are covered in the Principles. Many of the essays present strong points of view and should help involve students in the dialogue of philosophy. In some, (...) Berkeley serves chiefly as the occasion for the exercise of contemporary philosophical techniques. This accords with the intended function of the series to show the relevance of historical texts to current issues, openly acknowledging that each time teaches the philosophical past in its own terms. The section "Minds and Ideas" includes essays by S. A. Grave, Turbayne, and Monroe Beardsley. The section "Perception and Existence" reprints Mill on the Permanent Possibilities of Sensation, Hume on Personal Identity, Chisholm on Phenomenalism, and an essay by Konrad Marc-Wogau on the Esse-Est-Percipi principle. The third section is "Philosophy and Science." It has two essays, one by T. E. Jessop, the other, Popper's note on Berkeley as precursor of Mach and Einstein, which makes considerable use of De Motu. "Primary and Secondary Qualities" are treated in a selection from Thomas Reid, and an essay by Jonathan Bennett. The final section, "The Existence of God," consists of articles by Bennett and E. J. Furlong. There is a short general bibliography and a list of critical essays which includes many items from the 1950s and 1960s on each sectional topic.--M. B. M. (shrink)

The Wadsworth series of Studies in Philosophical Criticism under the general editorship of Alexander Sesonske, presents collections of critical writings related to a single classical philosophical text for use in undergraduate teaching. Although others of Berkeley's writings are drawn upon by various authors, the selections in this volume are divided into five problem areas which are covered in the Principles. Many of the essays present strong points of view and should help involve students in the dialogue of philosophy. In some, (...) Berkeley serves chiefly as the occasion for the exercise of contemporary philosophical techniques. This accords with the intended function of the series to show the relevance of historical texts to current issues, openly acknowledging that each time teaches the philosophical past in its own terms. The section "Minds and Ideas" includes essays by S. A. Grave, Turbayne, and Monroe Beardsley. The section "Perception and Existence" reprints Mill on the Permanent Possibilities of Sensation, Hume on Personal Identity, Chisholm on Phenomenalism, and an essay by Konrad Marc-Wogau on the Esse-Est-Percipi principle. The third section is "Philosophy and Science." It has two essays, one by T. E. Jessop, the other, Popper's note on Berkeley as precursor of Mach and Einstein, which makes considerable use of De Motu. "Primary and Secondary Qualities" are treated in a selection from Thomas Reid, and an essay by Jonathan Bennett. The final section, "The Existence of God," consists of articles by Bennett and E. J. Furlong. There is a short general bibliography and a list of critical essays which includes many items from the 1950s and 1960s on each sectional topic.--M. B. M. (shrink)

Some propositional attitude verbs require that the complement contain some “subjective predicate”. In terms of the theory proposed by Lasersohn, these verbs would seem to identify the “judge” of the embedded proposition with the matrix subject, and there have been suggestions in this direction. I show that it is possible to analyze these verbs as setting the judge and doing nothing more; then according to whether a judge index or a judge argument is assumed, unless the complement contains a subjective (...) predicate, the whole matrix is redundant or there is a type conflict. I further show that certain clear facts argue for assuming a judge argument which can be filled by a contextually salient entity–or by the subject of a subjective attitude verb. (shrink)

Two main methods for analysing de re readings of definite descriptions in intensional contexts coexist: that of evaluating the description in the actual world, whether by means of scope, actuality operators, or non-local world binding, and that of substituting another description, usually one expressing a salient or ‘vivid’ acquaintance relation to an attitude holder, prior to evaluation. Recent work on so-called descriptive indexicals suggests that contrary to common assumptions, both methods are needed, for different ends. This paper aims to show (...) that there is indeed a division of labour between the two methods of analysis and to identify criteria for choosing among alternative ways to model the second, substitutional method. (shrink)

How questions are understudied in philosophy and linguistics. They can be answered in very different ways, some of which are poorly understood. Jaworski identifies several types: ‘manner’, ‘method, means or mechanism’, ‘cognitive resolution’, and develops a logic designed to enable us to distinguish among them. Some key questions remain open, however, in particular, whether these distinctions derive from an ambiguity in how, from differences in the logical structure of the question or from contextual underspecification. Arguing from two classes of responses, (...) adverbs and by gerunds, I give the answer that the logical structure of the question is indeed relevant: loosely, manners are adjuncts but methods are arguments. (shrink)

The need for the critical edition of texts was not ended by the advent of printing. If anyone were naif enough to think so he could hardly be better instructed than by having his attention drawn to the cautionary tale of Locke’s Treatises Admittedly there were special circumstances affecting the printed text, notably Locke’s ‘determined anonymity’, understandable in the conditions of the time and given the drift of the work, but taken by Locke to the extremes of dealing with his (...) printer through an intermediary and of using a code-name for the work in his own private lists. Yet when allowance is made for these circumstances the fact remains that the text of Locke’s Treatises currently used is a gravely defective one. It is not that the variants are individually important or substantially affect the sense in more than a tiny minority of cases; it is rather that there are so very many of them that, cumulatively, they undermine confidence. As Mr Laslett points out there is a strong case for applying the canons of criticism, traditionally applied to the classics of the Ancient World and of modern literature, to documents of modern political theory. The resulting changes may not be great; and most are of the order of the abandonment of the solecisms Two Treatises of Civil Government and Second Treatise of Civil Government where Locke wrote Two Treatises of Government and Essay concerning the True Original, Extent, and End of Civil Government But scholarship owes it to Locke to use all its resources to ascertain his text. (shrink)

The merit of Plato’s Laws remains largely untapped by those seeking genuinely collaborative models of the doctor–patient tie as alternatives to paternalism and autonomy. A persistent difficulty confronting proposed alternatives has been surpassing the notion of pronounced intellectual and values asymmetry favoring the doctor. Having discussed two prominent proposals, both of which evince marked paternalism, I argue that reflection on Plato yields four criteria that a genuinely collaborative model must meet and suggest how the Laws addresses them. In the process, (...) the Laws’ doctor–patient tie is shown to be far more nuanced than interpreters have previously observed. Although Plato’s account will not solve our own quandaries, it illustrates how one might retain asymmetry of a kind without capitulating to familiar oppositional modalities. Through this account, I hope to show that the Laws merits fuller inclusion in contemporary discussions than it has heretofore received. (shrink)

abstract In 2002 Diane Pretty went to the European Court of Human Rights to gain a ruling about assisted suicide. In the course of this she argued that the right to life implied a right to die. This paper will consider, from an ethical rather than a legal point of view, how the right to life might imply (or not) a right to die, and whether this includes either a right that others shall help us die, or a right against (...) non‐interference if others are willing to help us. It does this by comparing the right to life to conceptions of property rights. This is not because I think human life is property, but because some of our ways of talking and thinking about our control over our own lives seem to be similar to our thoughts about our control over our own property. The right to life has traditionally been taken as a negative right, that is a right that others not deprive us of life. Pretty's argument, however, seems to be moving towards a positive right, not just to remain alive, but to be enabled in doing what we want to with our lives, and thus disposing of them if we so choose. The comparison with property rights suggests that the right to die only applies if our lives are ours absolutely, and may itself be modified by the suggestion that suicide harms all of us by devaluing human life in general. (shrink)

There is a perception that the substantial data from psi research is indicative of support for a dualistic worldview. In this paper, we present an overview of this perspective as discussed in the works of John Beloff, Charles Tart, David Rousseau, Ed Kelly, and Larry Dossey. Following this, we discuss the refutation of the dualist view from the point of the definition of non-material, and provide a possible definition of non-material, and the role of consciousness in quantum mechanics. We conclude (...) that these criteria are sufficient to reject a dualist perspective in the analysis of psi data, until the validity of all possible physicalist-reductionist views have been exhausted. In our analysis, the next question guiding a psi research programme is how psi occurs and what its mechanics are. (shrink)

The type of mood or tense marking that causes counterfactuality inferences—as figuring prominently, but far from exclusively, in counterfactual conditionals—has not yet received a comprehensive and compositional analysis. Focusing on four languages, the paper presents under-appreciated facts and a novel theory where the mood serves to activate alternatives to modal operators, particularly one: the identity operator, often giving rise to counterfactual implicatures.