Diversity Reading List

Abstract: The present article provides an introduction to classical Chinese logic, a term which refers to ancient discourses that were developed before the arrival of significant external influences and which flourished in China until the first unification of China, during the Qin Dynasty. Taking as its premise that logic implies both universal and culturally conditioned elements, the author describes the historical background of Chinese logic, the main schools of Chinese logical thought, the current state of research in this area and the crucial concepts and methods applied in classical Chinese logic. The close link between Chinese logic and the Chinese language is also stressed

Summary: Saito examines arguments concerning why artworks should be restored, which are couched in terms of a debate between "purist" and "integral/conservator" restoration. Purists believe artworks should only be cleaned, emphasizing the integrity of the material object, whereas integral restorationists are open to adding material to the work, emphasizing the integrity of the original aesthetic experience. Rather than embracing a particular side in this debate, Saito's discussion reveals how cultural/historical considerations can be as important to the debate over restoration as aesthetic considerations.

Summary: Saito presents the moral dimension of Japanese aesthetics in terms of two design principles: respect for the quintessential, innate characteristics of things and honor and responsiveness to human needs. She analyzes the sensitivity to objects and people at work in a wide range of Japanese arts and crafts, including garden design, haiku, painting, pottery, and food, emphasizing that the cultivation of a moral attitude toward things is often practiced through aesthetic means.

Publisher's Note: Everyday aesthetic experiences and concerns occupy a large part of our aesthetic life. However, because of their prevalence and mundane nature, we tend not to pay much attention to them, let alone examine their significance. Western aesthetic theories of the past few centuries also neglect everyday aesthetics because of their almost exclusive emphasis on art. In a ground-breaking new study, Yuriko Saito provides a detailed investigation into our everyday aesthetic experiences, and reveals how our everyday aesthetic tastes and judgments can exert a powerful influence on the state of the world and our quality of life. By analysing a wide range of examples from our aesthetic interactions with nature, the environment, everyday objects, and Japanese culture, Saito illustrates the complex nature of seemingly simple and innocuous aesthetic responses. She discusses the inadequacy of art-centered aesthetics, the aesthetic appreciation of the distinctive characters of objects or phenomena, responses to various manifestations of transience, and the aesthetic expression of moral values; and she examines the moral, political, existential, and environmental implications of these and other issues.

Publisher's Note: Yuriko Saito explores the nature and significance of the aesthetic dimensions of people's everyday life. Everyday aesthetics has the recognized value of enriching one's life experiences and sharpening one's attentiveness and sensibility. Saito draws out its broader importance for how we make our worlds, environmentally, morally, as citizens and consumers. Saito urges that we have a social responsibility to encourage cultivation of aesthetic literacy and vigilance against aesthetic manipulation. Yuriko Saito argues that ultimately, everyday aesthetics can be an effective instrument for directing the humanity's collective and cumulative world-making project for the betterment of all its inhabitants.

Everyday aesthetics has been seen as a challenge to contemporary Anglo-American aesthetics discourse, which is dominated by the discussion of art and beauty. Saito responds to controversies about the nature, boundary, and status of everyday aesthetics and argues for its legitimacy. She highlights the multi-faceted aesthetic dimensions of everyday life that are not fully accounted for by the commonly-held account of defamiliarizing the familiar.

Abstract: Revolution in the aesthetics of nature often takes place when people start appreciating the parts of nature formerly regarded as aesthetically negative. One such example is the change in the aesthetics of mountains which occurred during the early eighteenth century. We are witnessing another revolution in this country which started a century ago. Its primary purpose is to overcome the pictorial appreciation of the natural environment, a legacy left by the picturesque aesthetics established during the latter half of the eighteenth century. The picturesque emphasis on vision as the vehicle for appreciating the natural environment has led us to regard nature as a series of scenes consisting of two- dimensional designs. This approach to nature has also encouraged us to look for and appreciate primarily the scenically interesting and beautiful parts of our natural environment. As a result, those environments devoid of effective pictorial composition, excitement, or amusement (that is, those not worthy of being represented in a picture) are considered lacking in aesthetic values. Consider, for example, John Muir's experience of encountering two artists on Mt. Ritter in the High Sierras. Muir complains that they were satisfied only with a few scenic spots affording spectacular, startling views. However, other parts that attracted Muir, such as the autumn colors of the surrounding meadows and bogs, were "sadly disappointing" to the artists because they did not make "effective pictures." Half a century later, Aldo Leopold echoes Muir's complaint. "Concerned for the most part with show pieces," Leopold claims, we are "willing to be herded through 'scenic' places" and "find mountains grand if they be proper mountains with waterfalls, cliffs, and lakes." Because we expect to be entertained by the grand, amusing, and spectacular parts of nature (such as in national parks), we find the Kansas plains "tedious" and the prairies of Iowa and southern Wisconsin boring. Against such a common tendency, Leopold reminds us that "in country, as in people, a plain exterior often conceals hidden riches," and urges us to develop the aesthetic sensitivity to penetrate the "plain" exterior to reach the hidden riches. The same sentiment is expressed by a contemporary painter, Alan Gussow. While not objecting to the popular appreciation of the "crown jewels" in the National Park system, he calls for "the cultivation of an ability to see beauty in more modest, less aggressive settings," such as tidal wetlands and wildlife habitats. According to Gussow, their beauty is primarily based upon health and sustainability and is more subtle, less visible, than the grandiose splendor of the Grand Canyon, Yellowstone, or Mt. Rainier. Holmes Rolston III, a contemporary writer on environmental ethics, reiterates this concern for the common inclination to depreciate the scenically challenged parts of nature. In defending the positive aesthetic value of a rotten carcass of an elk full of maggots (not our typical example of scenic beauty), he advises against our tendency to look for pretty objects and picturesque scenes fit for a postcard. 'At the beginning," Rolston claims, "we search for something pretty or colorful, for scenic beauty, for the picturesque. Landscapes regularly provide that, but when they do not, we must not think that they have no aesthetic properties."' In his recent writings on nature aesthetics, Allen Carlson also challenges the pictorial approach to nature. According to Carlson, considering nature as a series of landscape paintings is inappropriate, simply because that is not what nature is. This landscape model for appreciating nature "requires us to view the environment as if it were a static representation which is essentially 'two dimensional.' It requires the reduction of the environment to a scene or view." Experiencing nature as a static, representational, two-dimensional scene, however, "unduly limits our appreciation ..., it also misleads it." Carlson claims that with a proper approach (to be specified later), even pictorially challenged natural objects would appear aesthetically positive, confirmed by the change of people's attitudes regarding mountains, jungles, insects, and reptiles.

Abstract:

The Chao Lun (ca. 400 CE) is the main philosophical work of the Chinese Buddhist monk Sēngzhào, a student of Kumārajīva who first translated major Buddhist philosophical works like those of Nāgārjuna into Chinese. Sēngzhào develops a metaphysical conception of time according to which time is not real. What instead exists are an array of entirely static worlds - "time slices" in modern parlance (Sēngzhào's views are an early example of a "B-theory" of time). Our selves are being moved from one world to the next, creating an illusion of progression and things like causation. For Sēngzhào, enlightenment can be found by simply remaining in the present, not moving on to the next state. Sēngzhào leans both on Buddhist and on Daoist influences, but also develops an epistemologically less radical view in chapter 3 that, unlike those of Nāgārjuna and Zhuangzi, cannot be associated with skepticism.

Abstract:

This article develops and defends a new functional approach to scientific progress. I begin with a review of the problems of the traditional functional approach. Then I propose a new functional account of scientific progress, in which scientific progress is defined in terms of usefulness of problem defining and problem solving. I illustrate and defend my account by applying it to the history of genetics. Finally, I highlight the advantages of my new functional approach over the epistemic and semantic approaches and dismiss some potential objections to my approach.

Abstract:

Among biologists and philosophers, there is an ongoing debate over the Modern Synthesis and the Extended Evolutionary Synthesis. Some argue that our current evolutionary biology is in need of (at least) some substantial revision or nontrivial extension, while others maintain that the Modern Synthesis remains the foundational framework for evolutionary biology. It has been widely debated whether the Extended Evolutionary Synthesis provides a more promising framework than the Modern Synthesis. The nature and methodological implications of the Extended Evolutionary Synthesis were also examined. This paper offers an integrated historical and philosophical examination of the debate over the Extended Evolutionary Synthesis. It reviews the development of evolutionary biology of the twentieth century. It argues that there are substantial conceptual and theoretical differences between the Modern Synthesis and the Extended Evolutionary Synthesis, but they are not incommensurable paradigms in the Kuhnian sense. It also argues for a functional approach to the debate over these two frameworks of evolutionary theory.

Abstract: This paper describes a formal measure of epistemic justification motivated by the dual goal of cognition, which is to increase true beliefs and reduce false beliefs. From this perspective the degree of epistemic justification should not be the conditional probability of the proposition given the evidence, as it is commonly thought. It should be determined instead by the combination of the conditional probability and the prior probability. This is also true of the degree of incremental confirmation, and I argue that any measure of epistemic justification is also a measure of incremental confirmation. However, the degree of epistemic justification must meet an additional condition, and all known measures of incremental confirmation fail to meet it. I describe this additional condition as well as a measure that meets it. The paper then applies the measure to the conjunction fallacy and proposes an explanation of the fallacy.