Lewis has objected to Armstrong's notion of a structural universal on the grounds that it violates the Principle of Uniqueness of Composition (PUC), which says that given some parts, there is only one whole that they compose. This paper reviews Armstrong's case for structural universals, and then attempts to reconcile structural universals with PUC by arguing for the existence of arrangement universals. The latter are not only a key to defending structural universals against Lewis' objection, but are in (...) fact essential to Armstrong's conception of structural universals in general. Three objections to my proposal are deflected, and two alternative proposals are shown to be inferior to it. (shrink)

In this paper I build on Moor's idea that the task of computer ethics is to fill policy vacuum's created by the introduction of computer and information technology. The traditionalist account proposes that to solve computer ethical issues all we have to do is apply traditional moral norms and principles. I argue against this position and propose instead that we think of computer ethical issues as new species of generic moral problems. Computer technology changes the instrumentation of human action. The (...) new instrumentation changes the composition of action and it creates the possibility of actions and arrangements that were not possible before. Ethical analysis has not traditionally or explicitly focused on the instrumentation of action. Human action instrumented with computer technology is, nevertheless, human action. The ethical issues that arise can be understood in traditional moral terms though they often have features that are new and unusual. The ethical issues are new species of traditional moral issues. (shrink)

I focus on three mereological principles: the Extensionality of Parthood (EP), the Uniqueness of Composition (UC), and the Extensionality of Composition (EC). These principles are not equivalent. Nonetheless, they are closely related (and often equated) as they all reflect the basic nominalistic dictum, No difference without a difference maker. And each one of them—individually or collectively—has been challenged on philosophical grounds. In the first part I argue that such challenges do not quite threaten EP insofar as they (...) are either self-defeating or unsupported. In the second part I argue that they hardly undermine the tenability of EC and UC as well. (shrink)

Contextuality is a particular quantum phenomenon that has no analogue in classical probability theory. Given two independent systems, a natural question is how to represent such a situation as a single test space. In other words, how separate contextuality scenarios combine into a joint scenario. Under the premise that the the allowed probabilistic models satisfy the No Signalling principle, Foulis and Randall defined the unique possible way to compose two contextuality scenarios. When composing strictly-more than two test spaces, however, a (...) variety of possible composition methods have been conceived. Nevertheless, all these formally-distinct composition methods appear to give rise to observationally equivalent scenarios, in the sense that the different compositions all allow precisely the same sets of classical and quantum probabilistic models. This raises the question of whether this property of invariance-under-composition-method is special to classical and quantum probabilistic models, or if it generalizes to other probabilistic models as well, our particular focus being \ models. \ models are physically important since, when applied to scenarios constructed by a particular composition rule, coincide with the well-defined “Almost Quantum Correlations”. In this work we see that some composition rules, however, give rise to scenarios with inequivalent allowed sets of \ models. We find that the non-trivial dependence of \ models on the choice of composition method is apparently an artifact of failure of those composition rules to capture the orthogonality relations given by the Local Orthogonality principle. We prove that \ models satisfy invariance-under-composition-method for all the constructive compositions protocols which do capture this notion of Local Orthogonality. (shrink)

When some objects are the parts of another object, they compose that object and that object is composite. This article is intended as an introduction to the central questions about composition and a highly selective overview of various answers to those questions. In §1, we review some formal features of parthood that are important for understanding the nature of composition. In §2, we consider some answers to the question: which pluralities of objects together compose something? As we will (...) see, the dominant answers are all of them and none of them. In §§3-4, we examine one of the main arguments that has driven philosophers to these extreme answers: the argument from vagueness. In §5, we turn to the question of whether composition is unique: is it sometimes the case that some things compose more than one thing? Finally, in §6, we turn from the question of which composites exist to the question of which composites exist fundamentally. (shrink)

The purpose of this article is to identify a close, "polyphonic" connection, consolidation of ancient forms and techniques of compositional writing of the twentieth century. The subject of the study is the choral creativity of Alexander Vustin. The object of the study is the consideration of polyphonic works of techniques in A. Vustin's composition "Veni Sancte Spiritus". The musical language of A. Vustin is characterized by extreme restraint, depth, semantic concentration. The appeal to ancient polyphonic genres, forms and techniques (...) of writing in A. Vustin's choral compositions is characterized by an individual approach to solving a creative idea. The nature of the presentation of the original source, the methods of working with it acquires uniqueness in accordance with the new artistic tasks of modern music. Through the synthesis of research methods, including musicology, poetics and choral studies, the parameters of a musical composition are revealed: a musical-text source is attributed, genre specifics and musical form are analyzed. The author examines in detail such an aspect of the topic as the dialectical interaction of constructive and destructive formants of the architectonics of the musical form of polyphonic compositions for chorus. Special attention is paid to the ancient technique of writing on the cantus firmus in its refraction in modern choral composition.The main conclusion of the conducted research is the paradigm of artistic connections of genres, forms and techniques of ancient polyphony with modern means of compositional writing. Attention is focused on the need to study the issues related to the architectonics of modern choral composition, due not only to the general artistic and historical potential of choral culture as a whole, but especially its great importance in modern musical art. The novelty of the research lies in the fact that for the first time polyphonic techniques in modern choral composition are analyzed from the standpoint of musicology and choral studies. A special contribution of the author to the disclosure of the topic is the study of the composition "Veni Sancte Spiritus" by A. Vustin, which has not previously been the object of special research, and its introduction into modern scientific usage. (shrink)

Achille Varzi has shown that it is harder to deny Extensionality than we may have thought: he's argued that if we define proper parthood as parthood with distinctness, cases we take to violate Extensionality don’t really involve sharing of all proper parts. Aaron Cotnoir has responded by showing that, if we instead define proper parthood as asymmetric parthood, we can take Extensionality to be violated in these cases. I will offer a new response to this argument. Even granting Varzi's definition (...) of proper parthood, there are versions of Extensionality very similar to the one Varzi and Cotnoir discuss. One of these is motivated by the same intuitions as Varzi's Extensionality, and is violated in cases traditionally taken to be anti-Extensional. Thus, even granting Varzi's definition of proper parthood, anti-Extensionalists can capture a sense in which their cases violate Extensionality, without this merely amounting to a violation of Uniqueness of Composition. (shrink)

Sayyid Sadr al-din Mohammad Dashtaki Shirazi is the inventor of the division of composition into unified composition and composition by join. With this division, Dashtaki has expressed a new theory about the composition of the material object from first matter and form, as well as the composition of man from soul and body, and considers these compositions as an alliance and unification, not simply the parts joining to each other. In this paper, we will present (...) Dashtaki’s arguments on the theory of unified composition. We will also examine three objections to this theory and responses to them. Finally, we will examine the background of this theory in Bahmanyar's phrases. Dashtaki believes that when the components in the compound have a real plurality, i.e. each one exists separately from the other, a composition by join is created, such as the composition of a house from numerous clays. But if the components in the compound are united and none of them are separate from the others and exists actually, the resulting composition will be an alliance and union. He believes that in the unified composition, every component is identical to any other component and is identical to the whole. Accordingly, Reza is a unique being, both human and writer. In order to achieve a composition, a plurality is needed and in order to form a single composition, there must be plural components related to each other. An important question is that, principally how is a composition possible, if unified composition comes to existence only when the components are made united with each other and with the whole? In other words, unified composition is not possible, because the first condition of the acquisition of the composition, i.e., the plurality of the constituent components, is not satisfied. Dashtaki strives to express a difference between the components in the union compound. He believes that the conditions of the realization and the survival of the components are different, and that is enough for them to be different. In Dashtaki's point of view, in the unified composition the components are analytical, not being separate and plural, in reality. In other words, the components do not have actual and "in-the-world" plurality, which means that it is our intellect that separates them and looks at them as independent objects. Therefore, unity and identity are in-the-world and plurality and discernibility are analytical and in the mind. Dashtaki's first argument for his theory in general is as follows: the three major material objects (solid, plant and animal) are undoubtedly real compounds. But in these compositions, components exist potentially, and in a unified composition, components do not exist actually. Therefore, these objects are unified compounds. The second argument is that the accuracy of predication implies unity. In the unified composition, the components are identical with the whole, and therefore, the components can be predicated to the composition. In Dashtaki's view, if A is predicated to B, then it could be concluded that they are identical and unified. The first objection to this theory is that the unity is incompatible with causality. From the perspective of the Peripatetics, form is the cause of the matter, and this is incompatible with the union of the two. Dashtaki states that in case of causality, there is no need for cause and effect to be two different and discernible entities, but a single entity may be from one aspect the cause and, from another, the effect. In other words, the foresaid causality is analytical causality. When mind analyses something, and then finds analytical components, it can see between those analytical and intellectual components, causality, and find some of them as the cause of the others. The second objection is the incorrectness of the unity in compounds with components not being similar. only in the compounds having similar parts, one can accept the unity of matter and form. For example, in compounds such as horses, it is not possible to accept the union of matter and form, because in horses, there are components with different natures, such as bones, flesh and nerves. Unity of These parts with each other and with the whole is not plausible. Dashtaki’s respond is that the horse is also a natural unit and has no actual plurality. Components having similar or different natures does not make any difference. According to the theory of unified composition, the horse's components are united with the horse's form and have only analytical plurality. Horse’s components are just analytical components, not actual, independent ones. The third objection is the incompatibility of the actual existence of components with their unity. But Dashtaki maintains that a unique actual personal entity cannot have actual plural components. He states that compounds such as horses exist objectively, but objective and real existing is divided into two kinds: dependent existence, and independent existence as a single real thing. Therefore, the two characteristics of "being a component" and "being independent" are incompatible and do not come together in a real being. Dashtaki has also quoted phrases from Bahmanyar to confirm his point of view. Bahmanyar says that the properties of an animal belong to the whole and compound, not to each component. For example, it is a horse that feels, not its bone or brain, as the eye is also a compound, but seeing is the work of the eye, not the work of any of its components. Therefore, the animal, which is something compound, has characteristics that none of its components have. So the animal is something over and above its components. Bahmanyar thinks the components in the animal are potential. Then he states a general rule: any compound in which unity is real, its components do potentially exist. Therefore, Bahmanyar considers the body parts of the living organism as a potential being and generally believes that the components of any compound that have true unity are potential. The potentiality of the components in a real compound does not that mean that the components are destroyed and a new thing is produced. The components are also available, but they do not have the effects they had separately before the composition comes into existence. In other words, the components have found a unique identity together and therefore have a new effect.. It seems that Bahmanyar has expressed the same idea that Dashtaki is looking for in the theory of unified composition. Therefore, it can be said that before Dashtaki, Bahmanyar has come up with the thought of a unity. Of course, Bahmanyar has not explained much about this, and Dashtaki is the first who has organized and completed this idea as a philosophical theory. (shrink)

We define mereologically invariant composition as the relation between a whole object and its parts when the object retains the same parts during a time interval. We argue that mereologically invariant composition is identity between a whole and its parts taken collectively. Our reason is that parts and wholes are equivalent measurements of a portion of reality at different scales in the precise sense employed by measurement theory. The purpose of these scales is the numerical representation of primitive (...) relations between quantities of being. To show this, we prove representation and uniqueness theorems for composition. Thus, mereologically invariant composition is trans-scalar identity. (shrink)

This article has two goals: a historical and a speculative one. The historical goal is to offer a coherent account of Spinoza’s view on mereological composition. The speculative goal is to show that Spinoza’s substance monism is distinct from versions of monism that are currently defended in metaphysics and that it deserves the attention of contemporary metaphysicians. Regarding the second goal, two versions of monism are currently defended and discussed in contemporary metaphysics: existence monism according to which there actually (...) exists exactly one concrete entity; and priority monism that is famously defended by Jonathan Schaffer and according to which there exists exactly one fundamental concrete being, the cosmos, and several derivative concrete beings that are the parts of the cosmos. In this article, I argue that substance monism is neither an existence nor a priority monism because, while Spinoza’s monist is committed to the existence of a unique fundamental individual—the substance—and to the existence of several derivative individuals—the bodies or modes of extension—, Spinoza denies that the substance is mereologically complex. Regarding the first goal, the paper solves several interpretative puzzles by arguing that Spinoza distinguishes between three kinds of composition and that his talk of composition between the substance and its modes is by his own light not to be interpreted as literally true. (shrink)

Relationist theories of space or space-time based on embedding of a physical relational system A into a corresponding geometrical system B raise problems associated with the degree of uniqueness of the embedding. Such uniqueness problems are familiar in the representational theory of measurement (RTM), and are dealt with by imposing a condition of uniqueness of embeddings up to composition with an "admissible transformation" of the space B. Friedman (1983) presents an alternative treatment of the uniqueness (...) problem for embedding relationist theories, developed independently of RTM. Friedman's approach differs from that of RTM in securing uniqueness by adding new primitives to the physical system A in contrast to the RTM approach which adds new axioms. Friedman's proposal has recently been developed and defended by Catton and Solomon (1988). This method of solving the uniqueness problem is here argued to be substantially inferior to the RTM method, both in practice and in principle. In practice we find that in none of the concrete examples offered to illustrate the method is the uniqueness problem actually solved in general. Moreover we find that in the most interesting case (addition to the system A of a finite number of relations of finite degree) the method is in principle incapable of success for mathematical reasons. In addition to these technical difficulties there are compelling methodological reasons for preferring the RTM method to the method of adding primitives. (shrink)

It is now clear that two prominent nuclear domains, interchromatin granule clusters (IGCs) and Cajal bodies (CBs), contribute to the highly ordered organization of the extrachromosomal space of the cell nucleus. These functional domains represent structurally stable but highly dynamic nuclear organelles enriched in factors that are required for different nuclear activities, especially RNA biogenesis. IGCs are considered to be the main sites for storage, assembly, and/or recycling of the essential spliceosome components. CBs are involved in the biogenesis of several (...) classes of small RNPs as well as the modification of newly assembled small nuclear RNA. We have summarized data on the molecular composition, structure, and functional roles of IGCs and CBs in the nuclei of mammalian somatic cells and oocytes of some animals with a special focus on insects. We have focused on similarities and differences between the IGCs and CBs of oocytes and the well‐studied CBs and IGCs of cultured mammalian somatic cells. We have shown the heterogeneous character of oocyte IGCs and CBs, both in structure and molecular content. We have also demonstrated the unique capacity of oocytes to form close structural interactions between IGC and CB components. We proposed to consider these joint structures as integrated entities, sharing the features of both IGCs and CBs. (shrink)

Time has multiple aspects and is difficult to define as one unique entity, which therefore led to multiple interpretations in physics and philosophy. However, if the perception of time is considered as a composite time concept, it can be decomposed into basic invariable components for the perception of progressive and support-fixed time and into secondary components with possible association to unit-defined time or tense. Progressive time corresponds to Bergson’s definition of duration without boundaries, which cannot be divided for measurements. Time (...) periods are already lying in the past and fixed on different kinds of support. The human memory is the first automatic support, but any other support suitable for time registration can also be considered. The true reproduction of original time from any support requires conditions identical to the initial conditions, if not time reproduction becomes artificially modified as can be seen with a film. Time reproduction can be artificially accelerated, slowed down, extended or diminished, and also inverted from the present to the past, which only depends on the manipulation of the support, to which time is firmly linked. Tense associated to progressive and support fixed time is a psychological property directly dependent on an observer, who judges his present as immediate, his past as finished and his future as uncertain. Events can be secondarily associated to the tenses of an observer. Unit-defined time is essential for physics and normal live and is obtained by comparison of support-fixed time to systems with regular motions, like clocks. The association of time perception to time units can also be broken. Einstein’s time units became relative, in quantum mechanics, some physicist eliminated time units, others maintained them. Nevertheless, even the complete elimination of time units is not identical to timelessness, since the psychological perception of progressive and support-fixed time still remains and cannot be ignored. It is not seizable by physical methods, but experienced by everybody in everyday life. Contemporary physics can only abandon the association of time units or tenses to the basic components in perceived time. (shrink)

The modal interpretation of quantum theory ascribes at each instant physical magnitudes with definite values to quantum systems. Starting from certain natural requirements, I determine unique solutions for the evolution of these possessed magnitudes in free systems and in special cases of interacting systems. The evolution is given in terms of transition probabilities that relate the values of the possessed magnitudes at one instant to the values at a second instant. I also determine a joint property ascription to a composite (...) system and its separate subsystems. Finally, I give a proof that the predictions of the modal interpretation with respect to measurement outcomes agree with the predictions of the standard interpretation. (shrink)

The purpose of this paper is to present a theory of referential uses of definite descriptions that is alternative to Neale’s theory of Gödelian completions but nonetheless assumes two tenets of Neale’s view: the Russellian analysis of definite descriptions is basically correct, i.e. definite descriptions are quantified NPs and referential uses are not to be explained in terms of the Gricean distinction between what is said and what is meant. The proposition said is the intuitive content of an assertion as (...) opposed to contents that are conversational implicatures. The compositional system computes the proposition said taking into account the semantic information encoded in a sentence and all relevant contextual information. The proposition said is the input for processing the proposition meant as the result of Gricean conversational implicatures. The computation of the proposition said involves linguistic decoding as well as pragmatic inferences. Notice that Neale Philosophical Perspectives, 22, 375–442, uses ‘implied’ instead of ‘meant’). Neale’s Russellian approach to referential uses is assumed. I give no direct argument to prove that Neale’s approach is superior to a Gricean approach and no direct argument to prove that it is superior to an approach such as Devitt’s one that introduces a semantic ambiguity between referential and attributive definite descriptions. Contrary to Neale’s theory of Gödelian completions, the theory I present preserves the uniqueness condition of the orthodox quantificational meaning of definite descriptions as a contribution to what is said on referential uses. I argue that from the orthodox Russellian point of view this is a remarkable advantage over Neale’s theory of Gödelian completions. (shrink)

Most philosophical or scientific theories suppose that colour composition judgments refer to the way colours appear to us. The dominant view is therefore phenomenalist in the sense that colour composition is phenomenally given to perceivers. This paper argues that there is no evidence for a phenomenalist view of colour composition and that a conventionalist approach should be favoured.

In this paper we argue that there is a large class of expressions, typified by ‘plastic flower’, ‘stuffed animal’ and ‘kosher bacon’, that have a unique semantics combining compositional, idiomatic and decompositional interpretation. These expressions are compositional because their constituents contribute their meanings to the meanings of the wholes; they are idiomatic because their interpretation involves assigning dictionary entries to non-terminal elements in their syntactic structure; and they are decompositional because their meanings have proper parts that are not the meanings (...) of any of their syntactic constituents. We argue that extensionalist semantics, on which the meaning of an expression is a function from domains to extensions in those domains, cannot provide an adequate account of the semantics of these expressions, and that supplementation with a theory of pragmatic interpretation does not improve the situation. We show how our account explains the intensionality and the productivity of these expressions. (shrink)

David Lewis famously takes mereology ‘to be perfectly understood, unproblematic, and certain". In this chapter, the author proceeds by articulating four theses that Lewis holds about composition. Three of them are familiar; Lewis himself explicitly articulates and relies upon them. The fourth remains implicit, but it is nonetheless important. The four theses include: composition is unique (the same things cannot have two different fusions); composition is unrestricted (any two things whatsoever have a fusion); composition is ontologically (...) innocent (composed entities do not "count" beyond their parts); and composition is unmysterious (it is not problematic to treat it as primitive, and can function in demystifying explanations). The author devotes a section to each thesis: explaining what it says, pointing to the texts that illustrate that Lewis believes it, and explaining why Lewis believes it. Lewis uses the label ‘uniqueness’ and explicitly endorses the thesis. (shrink)

Reconstructive allografts using Vascularized Composite Allotransplantation are providing individuals living with upper limb loss and facial disfigurement with new opportunities for a sensate, esthetically acceptable, and functional alternative to current treatment strategies. Important research attention is being paid to how best to assess and screen candidates for VCA, measure optimal patient outcomes, and support patient adherence to lifelong behaviors and medical regimens. Far less attention, however, has been dedicated to the team science required for these complex VCA teams to form, (...) prepare, and provide the highest quality clinical and psychosocial care to those receiving VCA. VCA teams are unique in that they require specialized team members whose scope of practice may not otherwise overlap. The team also needs to constantly negotiate balancing patient safety with multiple risks throughout the transplant process. This study aimed to elucidate the team science needed for this highly innovative and complex area of medicine. Using in-depth qualitative interviews with 14 VCA team members and observations at team meetings, we found that careful consideration of team composition, team structure, and organizational commitment influences team performance and patient outcomes, but that to be efficient and truly effective, teams need to commit to developing processes that foster collaboration. These processes are action-oriented, strategic and interpersonal. Dedication and commitment to team science allows teams to manage conflict under stress and exercise ways to leverage strengths to provide optimal performance or patient psychosocial and clinical outcomes. This study can provide insight into quality improvement efforts for VCA teams and guidance for other transplant programs that wish to consider expansion into VCA. (shrink)

This essay explores the implications of a commonly held ancient and medieval belief that human memory and invention are, if not exactly the same, the closest thing to it. In order to create, in order to think at all, human beings require both a well-provisioned stock of memory-held knowledge and some mental tool or machine, an engine which lives in the intricate networks of their own memories. In the verbal arts of the trivium students learned the basic principles of memory (...) training: the need for divisio, the need to make a clear, distinct location for each piece of memorized content, and the need to mark items uniquely for secure recollection. Frequently these mental structures took the form of images. Evidence for such memorial and compositional images is common: I focus on a few representative types, including the sermon-related “Cherub” figure of the later Middle Ages, and accounts by Cassiodorus and others of scholars, even when blind, using their highly structured memories to compose new work. (shrink)

The Zhouyi is the first of the Chinese classics and has, since medieval times, fascinated scholars from different parts of the world, who have produced numerous studies and expressed a dazzling array of views on its nature. It is argued that the Zhouyi has retained its exalted status and enduring appeal largely because it is an open book amenable to all kinds of appropriations and manipulations, and its openness comes from its being a semiotic system whose principle of composition (...) warrants unlimited interpretations. Through a semiotic-cum-philosophical inquiry, it is shown that the Zhouyi is first and foremost a system of representation, and because of its unique structure and principle of signification it forms an open hermeneutic space with infinite possibilities of interpretation. (shrink)

Represented as the face of Venice, the houses of the Grand Canal were used during the Renaissance to support the portrayal of the Venetian Republic's unique structure of governance. Paolo Paruta's dialogue, Della perfettione della vita politica, a work of political theory on the Venetian Republic, is one such text used here to examine how in a changing context of modernization, architecture has been presented as a representation of state. Paruta's use of architecture as a representation of state was conceptually (...) different from those earlier writers such as Gasparo Contarini who presented the uniqueness of Venice's social qualities through its orderly governance and law. Fundamental to Paruta's incorporation of architecture to the conceptualization of Venice was Daniele Barbaro's interpretation of Vitruvius’ representation of the body-of-state, being reflected in the architectural makeup of the city. However, Vitruvius’ text, De architectura, described the monarch's body reflected in the architecture and urban strategies of the late Roman Republic. Paruta's use of the text and of Daniele Barbaro aimed to transfer these values to the Venetian Republic and its social formations. Subtly forging links between the radicalism of Doge Andrea Gritti's renovatio programmes and the power struggles of the young patricians, Paruta's aim for architecture was to support the preservation of Venetian values as distinct from those of Rome. Indications are that Paruta's message was understood. To examine the comprehensibility of Paruta's political propositions, his terms and arguments are analysed in the context of three different architectural composition types used in Venetian houses of the mid-sixteenth century. (shrink)

My purpose here is to point out a use of the Greek word κλῖμαξ, lit. ladder, which has not been recorded in the lexica of ancient and medieval Greek. To be specific, the term is found twice in the Therapeutics, a work by the sixth-century a.d. author and practising physician Alexander of Tralles, in reference to a particular kind of composite drug. In the first case, the author refers to the so-called ‘ladder of Hermes’ without providing any recipe. According to (...) him, this is an antidote for the treatment of epilepsy and similar in action to the well-known theriac. However, in the second case referring to an antidote for the treatment of gout, the ‘so-called ladder’, he provides the following recipe : ἀντίδοτος ποδαγρικὴ ἡ καλουμένη κλῖμαξ.ἀγαρικοῦοὐγ. α´φοῦοὐγγ. β´πετροσελίνουοὐγγ. γ´μαίουοὐγγ. δ´ὑπερίκουοὐγγ. ε´γεντιανῆςοὐγγ. ς´ἀριστολοχίαςοὐγγ. ζ´κενταυρίουοὐγγ. η´χαμαίδρυοςοὐγγ. θ´μέλιτος τὸ ἀρκοῦν. As evidenced, the term denotes a unique category of composite drugs in which the quantity of each subsequent ingredient is increased by one unit, thus metaphorically alluding to an ascending scale. (shrink)

Human cognition is unique in the way in which it relies on combinatorial (or compositional) structures. Language provides ample evidence for the existence of combinatorial structures, but they can also be found in visual cognition. To understand the neural basis of human cognition, it is therefore essential to understand how combinatorial structures can be instantiated in neural terms. In his recent book on the foundations of language, Jackendoff described four fundamental problems for a neural instantiation of combinatorial structures: the massiveness (...) of the binding problem, the problem of 2, the problem of variables, and the transformation of combinatorial structures from working memory to long-term memory. This paper aims to show that these problems can be solved by means of neural “blackboard” architectures. For this purpose, a neural blackboard architecture for sentence structure is presented. In this architecture, neural structures that encode for words are temporarily bound in a manner that preserves the structure of the sentence. It is shown that the architecture solves the four problems presented by Jackendoff. The ability of the architecture to instantiate sentence structures is illustrated with examples of sentence complexity observed in human language performance. Similarities exist between the architecture for sentence structure and blackboard architectures for combinatorial structures in visual cognition, derived from the structure of the visual cortex. These architectures are briefly discussed, together with an example of a combinatorial structure in which the blackboard architectures for language and vision are combined. In this way, the architecture for language is grounded in perception. Perspectives and potential developments of the architectures are discussed. Key Words: binding; blackboard architectures; combinatorial structure; compositionality; language; dynamic system; neurocognition; sentence complexity; sentence structure; working memory; variables; vision. (shrink)

This paper studies the structure of semisimple rings using techniques of reverse mathematics, where a ring is left semisimple if the left regular module is a finite direct sum of simple submodules. The structure theorem of left semisimple rings, also called Wedderburn-Artin Theorem, is a famous theorem in noncommutative algebra, says that a ring is left semisimple if and only if it is isomorphic to a finite direct product of matrix rings over division rings. We provide a proof for the (...) theorem in $$\mathrm RCA_{0}$$, showing the structure theorem for computable semisimple rings. The decomposition of semisimple rings as finite direct products of matrix rings over division rings is unique. Based on an effective proof of the Jordan-Hölder Theorem for modules with composition series, we also provide an effective proof for the uniqueness of the matrix decomposition of semisimple rings in $$\mathrm RCA_{0}$$. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:April 3, 2010 (11:17 am) C:\Users\Milt\Desktop\backup copy of Ken's G\WPData\TYPE2902\russell 29,2 050 red.wpd Reviews 173 WITTGENSTEIN’S PRIMORDIAL WORK James Connelly Philosophy / Trent U. Peterborough, on, Canada k9j 7b8 [email protected] Michael Potter. Wittgenstein’s Notes on Logic. Oxford and New York: Oxford U. P., 2009. Pp. [xii], 310. isbn 978-0-19-921583-6. £37.00; us$70.00. April 3, 2010 (11:17 am) C:\Users\Milt\Desktop\backup copy of Ken's G\WPData\TYPE2902\russell 29,2 050 red.wpd 174 Reviews Michael Potter’s Wittgenstein’s (...) Notes on Logic is a painstakingly detailed scholarly study which blends philosophical insight with biographical and historical context to yield a deeper appreciation of the key themes informing Wittgenstein’s philosophical development over his initial period of residence at Cambridge in 1911–13. Notingasurprising gap in the literature on Wittgenstein’s philosophy (p. 3), Potter sets out to treat Wittgenstein’s 1913 “Notes on Logic” (which consists of a succinct summary of the conclusions reached over this initial period) as an independent and primordial philosophical work. While it has been common for serious scholars of Wittgenstein’s Tractatus to “mine” (p. 1) his pre-Tractarian writings in search of “remarks to support their interpretations ” (p. 1) of that text, what sets Potter’s study of the “Notes” apart from previous attempts at exegesis is a methodological determination to approach the “Notes” as “if not quite … a terminus in Wittgenstein’s work then at least as worthy of study in their own right” (p. 1). An important advantage of this approach, according to Potter, is that it facilitates a clearer appreciation of Wittgenstein’s lasting insights “into the central themes of philosophical logic” (p. 262), many of which Wittgenstein himself had already grasped by 1913 and which survive subsequent rejection of some of the less plausible aspects of the Tractatus (such as logical atomism and the picture theory of propositions). By presenting these key insights as consequences of central, but only subsequently adopted, Tractarian doctrines such as the picture theory, however, traditional Wittgenstein scholarship has missed an opportunity, uniquely important in the case of his philosophy (p. 1), to elucidate them against the background of the actual historical landscape of problems, strategies, motivations, and inXuences, within the context in which they were originally formulated. According to Potter, then, looking at the “Notes” as a Wnished work in its own right, as opposed to a mere collection of preparatory notes, will help us to understand better both the more thorough reasoning Wittgenstein worked through in developing these various insights (subsequently either suppressed or highly compressed in the Wnal draft of the Tractatus itselfy), and just what further logical work that subsequently added elements, such as the picture theory, were supposed to contribute. Likewise, such an approach will help us to understand better the relevant inXuences upon Wittgenstein’s philosophical development, such as those, obviously and respectively, of Frege and Russell. Integral to distilling these various insights and inXuences from the “Notes”, according to Potter, is the process of “disentangling” (p. 3) various extant versions of the text from one another, the distinct versions themselves arising from the “rather complicated circumstances” (p. 3) in which the “Notesz” were composed. Following upon a lengthy explication of both the content and philosophical context of the “Notes”, Potter therefore attempts to “reconstruct the circumstances of composition of Wittgenstein’s Wrst surviving philosophical work” (p. 263). This is achieved by engaging in some “historical detective work” April 3, 2010 (11:17 am) C:\Users\Milt\Desktop\backup copy of Ken's G\WPData\TYPE2902\russell 29,2 050 red.wpd Reviews 175 1 Reprinted in Ludwig Wittgenstein, Notebooks 1914–1916, ed. G.yH. von Wright and G.yE.yM. Anscombe (Oxford: Basil Blackwell, 1961) pp. 93–107. The second edition (1979) has the so-called “Russell” version of the “Notes on Logic”, which Potter prints in a diTerent arrangement. (p. 3), aimed at identifying and clarifying various crucial aspects of the “Notes”z’ historical and biographical context. Along with an Appendix B containing two diTerent versions of the “Notes” themselves (the “Cambridge” and “Birmingham... (shrink)

Visually impaired people have unique perceptions of and usage requirements for various urban spaces. Therefore, understanding these perceptions can help create reasonable layouts and construct urban infrastructure. This study recruited 26 visually impaired volunteers to evaluate 24 sound environments regarding clarity, comfort, safety, vitality, and depression. This data was collected in seven different types of urban spaces. An independent sample non-parametric test was used to determine the significance of the differences between environmental evaluation results for each evaluation dimension and to (...) summarize the compositions of sound and space elements in the positive and negative influence spaces. The results suggested that visually impaired people (1) feel comfort, safety, and clarity in parks, residential communities, and shopping streets; (2) have negative perceptions of vegetable markets, bus stops, hospitals, and urban departments; (3) feel anxious when traffic sounds, horn sounds, manhole cover sounds, and construction sounds occur; and (4) prefer spaces away from traffic, with fewer and slower vehicles, with a suitable space scale, and moderate crowd density. These results provide a reference for the future design of activity venues (i.e., residential communities, vegetable markets, bus stops, parks, shopping streets, hospitals, and urban functional departments) and the planning of accessibility systems for visually impaired urban residents. (shrink)

The Creation of Contemporary Ceramic Sculptures from Buriram Volcanic Stone Powder: The "Beauty of Family Relationships" Series, has the following objectives: 1) to develop and test the physical properties of clay bodies and glazes incorporating volcanic stone powder from Buriram province to determine their suitability for artistic creation; 2) to create contemporary ceramic sculptures using volcanic stone powder from Buriram province as a raw material; 3) to disseminate the contemporary ceramic sculptures through exhibitions, publications, and other media to the public; (...) and 4) to integrate research into teaching and academic services, promoting shared aesthetic experiences through knowledge sharing. In the study of clay bodies, the optimal mixture ratio was found to be 50% Ban Kruat clay and 50% ball clay, further enhanced by the addition of 15% basalt stone powder. This resulted in a unique color and texture, suitable for forming large-scale pieces. For the glaze, a composition of 60% basalt stone powder, 30% feldspar, and 10% ball clay was fired at 1230 degrees Celsius. The resulting glaze exhibited excellent properties, allowing for the layering of different glazes to achieve a diverse range of beautiful colors. In the creative process, the researchers designed the artworks by sketching 2D and 3D drawings. The designs were divided into five sets based on ceramic forming techniques: Set 1 utilized coil building; Set 2 employed pinching and coiling; Set 3 involved slab building; Set 4 used wheel throwing; and Set 5 focused on sculptural techniques. The creative process revealed unique and distinctive characteristics of the artistic creation. The artworks are not limited in terms of shape, form, or decorative techniques. The researchers were able to design and create a diverse range of works according to the intended objectives, while adhering to the design principles based on the concept and inspiration derived from the Beauty of Family Relationships. These contemporary ceramic sculptures consider both aesthetics and functionality, resulting in a new form of sculptural expression that is harmonious, aesthetically valuable, and fully functional in accordance with the purpose of each piece. (shrink)

According to the Truthmaker Principle: every truth has a truthmaker. Attempts to come to grips with the Truthmaker Principle played a prominent role in Lewis’s metaphysical writings over the last fifteen years of his career. Although Lewis agreed that the truth of propositions must somehow be ontologically grounded, the Truthmaker Principle was too strong: it conflicted with two of Lewis’s most fundamental metaphysical assumptions, the uniqueness of composition and the Humean denial of necessary connections. Lewis endorsed instead a (...) weaker principle: Truth Supervenes on Being. But towards the end of his career, he changed course, noting that his critique of the Truthmaker Principle rested on essentialist assumptions that he, as a counterpart theorist, does not accept. Once freed from those assumptions, a counterpart theorist can accept the Truthmaker Principle after all without buying into unmereological composition and mysterious necessary connections. (shrink)

George Clough‘s donation of old master prints raised the Whitworth Institute‘s collection to international standing. Simultaneously, it presented Manchester with a viewing experience that was possibly unique in Britain, and placed on permanent display one of the nations finest collections of engravings, etchings and woodcuts so as to offer a visual history of the medium of print. Clough had a special interest in Marcantonio Raimondi, collecting over forty prints by him at a time when such works commanded high prices. This (...) article examines the history and composition of Clough‘s collection and its place in the collecting culture of northern England, and of Manchester in particular, around 1900. (shrink)

Reports of children participating in hunger strikes while detained in offshore detention centres raise interrelated ethical issues and recognizable challenges for the medical decision-makers at these sites. A composite case study, informed by reports in the public domain, is employed to explore the unique challenges of consent and decision-making in these circumstances and the perennial issues inherent in adolescents’ developing capacity and autonomy. We present an amalgamated case of a fourteen-year-old adolescent who refused to consent to medical reversal of her (...) hunger strike protest. The medical team became the final arbiter when her parents, who were also in detention, could not agree with each other even after mediation. The case explores the complexity of evaluating the adolescent’s capacity to provide informed consent while influenced by the opinions of co-detainees in this extreme setting. We argue that the parents and the child had compromised decisional capacity due to the effects of detention. The challenges to the medical team are recognized and discussed. The team members faced a difficult dilemma and considered the competing values of the multiple cultural and ethical factors. Each team member integrated his or her own roles, duties, and discipline-specific professional guidelines with the primary goal of mitigating potential harms. (shrink)

The image of jazz in Ukrainian pop music is reproduced, the subcultures that dominate its modern manifestations are shown: African music, Irish-European melodies and rhythms, the interaction between pop music and folklore, a diametrically symmetrical structure, the appropriate composition of variable phrases (voice-instrument), various combinations of timbre acoustic electronics, a fusion of Ukrainian folklore and rock music. But, first of all, it is a harmonious combination of Afro-European traditions with Ukrainian folklore, its best examples. The article also talks about (...) the leading masters of Ukrainian jazz who managed to do this - Leonid Goldshtein and Igor Zhuromskyi, for whom the processing of folklore materials - household and African) with a predominance of appeals to the traditional folkloric Ukrainian musical stratum is characteristic. The aim. To reveal the image of jazz in Ukrainian pop music and its significance in the subculture. The tasks of the research are the analysis of the constituent subcultures in the modern representation of the art of Ukraine and their significance for the world artistic treasury. Research methodology. The methodology of the author’s research is based on the paradigmatic method, which allows determining the priority of artistic paradigms, the ratio of traditionally established and non-traditional vision of Ukrainian jazz culture. Reconstruction was also used - to reproduce the main milestones of the development of art of the 20th century within the scope of the research. Also, the methodology is based on a transdisciplinary approach, thanks to which we can study jazz not only in an art-historical aspect, but as a structure of European life of the given period. Research results: The results are as follows - it is 1) a feature of rock music style, such as heavy metal, punk rock, rock and roll, instrumental composition, the use of distinctive fans and unique sounding productions and vocals Intonation technology. 2) Saxophone melodies are built according to the Hutsul system with a characteristic degree of saxophone. 3) Official use of colomous rhythm in the voice. 4) Application of antique blues harmonic sequence. 5) Use of bluesy principles of questions and answers when alternating statements and instrumental episodes. 6) For vocal improvisation. Conclusion.So, we analyzed the interaction of Ukrainian modern pop and real folklore and jazz. Jazz, rock and pop styles were found, which are ideal for interpenetration with various Ukrainian subcultures, jazz-rock, free jazz, alternative music, rock and roll, blues-rock, trip-hop, pop ballad, disco music. The characteristics of the processing of folklore materials (domestic and African) are, first of all, an appeal to the traditional folklore layer, the method of performance (expressed by a real saxophone), the use of folk instruments or their tones. Depending on the genre that created jazz, rock and pop groups, the composition can be divided into folk songs and original compositions based on folklore. Popular music quotes folk and jazz material from pop music. (shrink)

Metaphysicians frequently appeal to intuition. But when is that appeal useful? I consider that question by focusing on our existential intuitions. In particular, I want to go some way to answering the question of whether, and when, appeal to existential intuitions is useful, by consid-ering the issue in the light of an argument for unrestricted composition. This argument appeals to a difference in the extent to which restricted and unrestricted compositionalists appeal to existential intuitions, and concludes that at the (...) very least, restricted compositionalists are on shak-ier epistemic ground than unrestricted compositionalists. Having outlined this argument for unrestricted composition, I con-sider the nature of the unrestricted existential quantifier in the context of three different metaphysical scenarios about the way the world might be: scenarios that differ with respect to whether the metaphysics of a world completely or uniquely settles the division of that world into ob-jects. I argue that appeal to intuition is not only useful but necessary if we are to determine the intension of ‘exists’ and hence its extension at any given world. But this appeal is not simply an appeal to our brute ex-istential intuitions—our dispositions actually to quantify over a certain domain. Rather, it requires equilibration over a set of worlds in which we consider our ‘quantificational’ dispositions in each world, where, importantly, included in this set of worlds are worlds in which the meta-physics differently settles the division of those worlds into objects. Ul-timately, I argue, our dispositions yield various conditional claims about our concept <existence>. These are conditional claims of the most ab-stract kind: they tell us, for instance, that if there is some natural, unique division of our world into objects, then the unrestricted quantifier ranges over all and only the objects in that domain. But, I will argue, our untu-tored, world-bound dispositions are no guide at all to what actually ex-ists even on the supposition that metaphysics alone does not uniquely or completely settle a natural division of our world into objects. Hence they are no guide to the nature of composition. And to the extent that certain restricted compositionalist views depend on such intuitions, so much the worse for them. Or so I shall argue. (shrink)

Guided by neuroscience, animal behavior, evolution, philosophy, and psychology, Asma burrows deep into the human psyche to look right at the enigmatic but powerful engine that is our improvisational creativity—the source, he argues, of our remarkable imaginational capacity. How is it, he asks, that a story can evoke a whole world inside of us? How are we able to rehearse a skill, a speech, or even an entire scenario simply by thinking about it? How does creativity go beyond experience and (...) help us make something completely new? And how does our moral imagination help us sculpt a better society? As he shows, we live in a world that is only partly happening in reality. Huge swaths of our cognitive experiences are made up by “what-ifs,” “almosts,” and “maybes,” an imagined terrain that churns out one of the most overlooked but necessary resources for our flourishing: possibilities. Considering everything from how imagination works in our physical bodies to the ways we make images, from the mechanics of language and our ability to tell stories to the creative composition of self-consciousness, Asma expands our personal and day-to-day forms of imagination into a grand scale: as one of the decisive evolutionary forces that has guided human development from the Paleolithic era to today. The result is an inspiring look at the rich relationships among improvisation, imagination, and culture, and a privileged glimpse into the unique nature of our evolved minds. (shrink)

Chinese painting has always been a unique product of our ancient civilization, which has survived to the present day. During its 2000-year development, Chinese painting has gradually turned into a unique and non-reproducible art form capable of expressing the thoughts and feelings of the artist. Over time, Chinese painting also demonstrates a new trend of inheritance and innovative development. Changes in Chinese painting occur simultaneously with the processes of globalization. This gives rise to new research on the trends of diversification (...) of artistic creativity. The focus of artistic expression has shifted from the depiction of direct natural objects towards the spiritual plane, which is a direct result of the creative activity of artists whose aspirations are manifested in the use of traditional Chinese ink painting in combination with new methods of figurative representation and deep understanding of spiritual content. Since ancient times, artists have actively sought to harmonize and balance the subjective and objective, as well as to achieve their organic combination. This article examines traditional Chinese painting as a source and driving force of the transformation of Chinese painting、prints of the era and integration in the content of paintings、attempts to introduce the Western concept of frontal composition, as well as updating the language of painting and artistic concepts. It is argued that the fundamental driving force and the main support for the development of Chinese painting in the context of globalization should be traditions integrated with new creative elements and techniques, thus it is possible to better promote Chinese culture and inherit the essence of traditional Chinese painting. (shrink)

The attributes and representative spirit of a culture, era, or community, as manifested in its attitude and aspiration, hold the concept of ethos. Likewise, every civilization has its own unique ethos; however, at present, it is shared through multiple globalized dynamics such as—media, technology, and other connectivities. The communication gaps have been filled with unique mediums; people are more open to new things, and comforts have increased dramatically. Nevertheless, despite such liberal and contemporary facts, we have encountered several problems and (...) value degradation in every aspect of human life. Service and leadership, art and aesthetics, ethics and morality, politics and society, science and law, and many other realms of human endeavour have been filled with much more complexity and crisis than before. It provokes intellectuals to rethink contemporary civilization and inspires the present critical research on top. Practically surrounded by all such challenges and selecting a few of them, this paper aims to address the complexities and stepping stones in the path of leadership, holistic ethics, and human well-being from philosophical perspectives while presenting a dystopian picture of contemporary reality and continuously following the critical method. Additionally, the conclusion and uniqueness of this paper locate within the fundamental questions raised in the present composition regarding the above-selected themes and an emphasis on the renaissance of inclusive ethics and virtuous leadership. (shrink)

Establishing and maintaining reference is a crucial part of discourse. In spoken languages, differential linguistic devices mark referents occurring in different referential contexts, that is, introduction, maintenance, and re-introduction contexts. Speakers using gestures as well as users of sign languages have also been shown to mark referents differentially depending on the referential context. This article investigates the modality-specific contribution of the visual modality in marking referential context by providing a direct comparison between sign language and co-speech gesture with speech in (...) elicited narratives. Across all forms of expression, we find that referents in subject position are referred to with more marking material in re-introduction contexts compared to maintenance contexts. Furthermore, we find that spatial modification is used as a modality-specific strategy in both DGS and German co-speech gesture, and that the configuration of referent locations in sign space and gesture space corresponds in an iconic and consistent way to the locations of referents in the narrated event. However, we find that spatial modification is used in different ways for marking re-introduction and maintenance contexts in DGS and German co-speech gesture. The findings are discussed in relation to the unique contribution of the visual modality to reference tracking in discourse when it is used in a unimodal system with full linguistic structure versus in a bimodal system that is a composite of speech and gesture. (shrink)

"Of Minds and Molecules" attempts to show the difficulties in mental-state brain-state monism. By exploring the differences in meaning between mental-state sentences and brain-state sentences, and by analysing the implications of the theory of the molecular composition of matter, a kind of dualism is arrived at that no scientist should feel uncomfortable with. It is a dualism without mental substance but it does not deprive mental states of their uniqueness. Arguments are given for the propriety of asserting causal (...) connections and dependency relations between mental states and molecular states of the brain. (shrink)

Originally published 1974. Thousands of elementary schools for the children of the poor were founded during the nineteenth century, yet there is scarcely a published history of a single one of them. This volume is precisely such a history and the authors trace its story against the background of local and national change in education and society. On the basis of a unique collection of records the authors have pieced together a picture of the social composition of the school, (...) its curriculum and teaching methods, and its administration and finance. They relate the history of the school to that of London and the church, to that of educational authorities and educational policy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 71-98MuseSearchJournalsThis JournalContents[Access article in PDF]Hospitality after the Death of GodTracy McNultyPierre Klossowski's fiction has been only sporadically published in English, and largely dismissed as perverse erotica or soft-core porn. When his 1965 trilogy Les lois de l'hospitalité was partially translated in English (under the title Roberte, ce soir & The Revocation of the Edict of Nantes), its Library of Congress classification characterized it simply as "erotic (...) fiction—French." Even in France, Klossowski has become the very signifier of perversion. His artwork graces the cover of Serge André's L'imposture perverse and of numerous erotic novels, he has been "diagnosed" as a pervert by writers on both sides of the Atlantic, and unironic readers of his Sade mon prochain hail him as Sade's disciple and heir.1Admittedly, the larger stakes of Klossowski's work are easily obscured by its free adaptation of the stock themes of libertine literature. His fictional works, like his visual compositions (essentially representations of rape scenes, often on historical themes—Diana and Actaeon, the Rape of Lucretia), explore the conflict between a woman's chaste moral attitude and her gradual surrender to an assailant's advances. The Laws of Hospitality concerns the erotic awakening of "hospitality" in a woman, which exposes a contradiction within her moral character and reveals her symbolic identity to be without foundation. Its protagonist Octave, who bears more than a passing resemblance to his creator, is a collector of artworks that eroticize the moment of moral hesitation experienced by women submitting to the sexual advances of a chance stranger—or even a "spiritual" apparition. His "laws of hospitality" are the fruit of his desire to experience this operation firsthand; they name a practice wherein the master of the house "offers" his wife to fortuitous guests, in order to savor the moment of her surrender.However, the stakes of Klossowski's "perverse" meditations are very different from the Sadeian project of uprooting religious morality. Sade challenges the patriarchal and religious authorities of his day by demonstrating that the paternal signifier on which their laws are based is without foundation. In proving that the law cannot hold [End Page 71] up against the repeated assaults of libertinage, he mounts a systematic deconstruction of the symbolic order of language by the real of jouissance. But although Klossowski may share Sade's perverse drive to "humiliate the law with the object,"2 his target is not the signifier as such, but rather the imaginary consistency afforded by what he calls the "grammatical fiction of the 'I,'" the illusion of autonomous personhood. The "object" he confronts it with is not the natural "truth" of jouissance, but rather the feminine object who disrupts the identity of the "master" who offers her.Klossowski's reflections on the special status of femininity in Enlightenment culture—at once marginal and singularly "extimate"—have never been fully appreciated, despite their enormous interest for the study of culture. In a way unique among contemporary authors, Klossowski sheds light on Jacques Lacan's enigmatic insight that the cultural importance of the feminine object consists in its sublimated status as an "object raised to the dignity of the Thing" [Lacan 112]. His fiction underscores the close ties between the feminine and what Freud called das Ding, the Thing uncannily internal to subjectivity that Lacan later identified with the function of the Nebenmensch, as the apotheosis of the Christian idea of the prochain, or neighbor [Lacan 151–52].Although Klossowski's erotic scenario invites comparisons with Sade's and Fourier's utopian calls to dissolve the privative boundaries between subjects, what he understands by "hospitality" is not the abolition of personal identity, but rather the staging of its internal contradiction.Hospitality, at the Limits of the LawThe act of hospitality—whose theological and philosophical origins this former Dominican novice and Latin scholar was intimately acquainted with—concerns a very particular tension. Etymologically, the host is the "master," the one who "eminently personifies" identity: not only his own identity, but also that of the group in whose... (shrink)

Generalized structured component analysis (GSCA) is a component-based approach to structural equation modeling (SEM), where latent variables are approximated by weighted composites of indicators. It has no formal mechanism to incorporate errors in indicators, which in turn renders components prone to the errors as well. We propose to extend GSCA to account for errors in indicators explicitly. This extension, called GSCA_M, considers both common and unique parts of indicators, as postulated in common factor analysis, and estimates a weighted composite of (...) indicators with their unique parts removed. Adding such unique parts or uniqueness terms serves to account for measurement errors in indicators in a manner similar to common factor analysis. Simulation studies are conducted to compare parameter recovery of GSCA_M and existing methods. These methods are also applied to fit a substantively well-established model to real data. (shrink)

Texts and textures: approaching an age of human-made nature through the particulate, the volatile, and the radiant. We have entered the Anthropocene era—a geological age of our own making, in which what we have understood to be nature is made by man. We need a new way to understand the dynamics of a new epoch. These volumes offer writings that approach the Anthropocene through the perspectives of grain, vapor, and ray—the particulate, the volatile, and the radiant. The first three volumes—each (...) devoted to one of the three textures—offer a series of paired texts, with contemporary writers responding to historic writings. A fourth volume offers a guide to the project as a whole. Grain: Granular materials add up to concrete forms; insignificant specks accumulate into complex entities. The texts in this volume narrate some of the fundamental qualities of the granular. In one pairing of texts, Robert Smithson compares the accumulation of thoughts to the aggregation of sediment, and an environmental historian writes about the stakes for earthly knowledge today. Other authors include Alfred Russel Wallace, Denis Diderot, and Georges Bataille. Vapor: The vaporous represents matter's transformations. In this volume, a political scientist compares Kafka's haunting “Odradek” to “vibrant matter”; a media theorist responds to poems and diagrams by Buckminster Fuller; and more, including texts by Hippocrates, Italo Calvino, and James Clerk Maxwell. Ray: A ray is an act of propagation and diffusion, encompassing a chain of interdependencies between energy and matter. This volume includes texts by Spinoza (with a reconceptualization by a contemporary philosopher), Jacques Lacan (followed by an anthropologist's reflections on temporality), Thomas Pynchon (accompanied by an interpretation of Pynchon's “electro-mysticism”), and others. These volumes constitute a unique experiment in design and composition as well as content. The mingling of texts and the juxtaposition of different areas of knowledge represented in a variety of forms express the dynamics of a world in change. (shrink)

In most cases, a wh-question calls for an answer that names an entity in the set denoted by the extension of the wh-complement. However, evidence from questions with necessity modals and questions with collective predicates argues that sometimes a wh-question must be interpreted with a higher-order reading, in which this question calls for an answer that names a generalized quantifier. This paper investigates the distribution and compositional derivation of higher-order readings of wh-questions. First, I argue that the generalized quantifiers that (...) can serve as semantic answers to wh-questions must be homogeneously positive. Next, on the distribution of higher-order readings, I observe that questions in which the wh-complement is singular-marked or numeral-modified can be answered by elided disjunctions but not by conjunctions. I further present two ways to account for this disjunction–conjunction asymmetry. In the uniform account, these questions admit disjunctions because disjunctions may satisfy the atomicity requirement of singular-marking and the cardinality requirement of numeral modification. In the reconstruction account, the wh-complement is syntactically reconstructed, which gives rise to local uniqueness and yields a contradiction for conjunctive answers. (shrink)

Film production is the process of creating a film, involving stages such as progress, pre-production, invention, post-production, and sharing. It encompasses planning, scripting, shooting, editing, and finalizing the film for public viewing. The process of imagination drives innovation in scripting, directing, and cinematography, resulting in unique, engaging experiences that captivate audiences with their emotive stories. The principle of this investigation is to assess how psychological factors add to enhancing imagination in film production, focusing on their impact on creative processes and (...) outcomes. A study surveyed 680 students from college film program students to analyze their creative personality and imaginative capabilities using structured questionnaires. Key psychological constructs included Creative Self-Efficacy, Emotional Resilience, Cognitive Flexibility, and Intrinsic Motivation. The study investigated the impact of psychological factors on college cinema students' creative imagination in filmmaking, demonstrating high validity and reliability with Factor Loadings exceeding 0.76, Composite Reliability higher than 0.88, and Average Variance Extracted (AVE) range as of 0.59 to 0.67. Discriminant validity was confirmed as every construct AVE was better than its square correlations by other constructs. Psychological factors significantly influence film production imagination, fostering creative thinking and emotional depth. Understanding and harnessing these factors enhances storytelling, character development, and audience engagement, ultimately enriching the cinematic experience. (shrink)

Two opposing accounts of early language evolution, the compositional and the holistic, have become the subject of lively debate. It has been argued that an evolving compositional protolanguage would not be useful for communication until it reached a certain level of grammatical complexity. This paper offers a new, discourse-oriented perspective on the debate. It argues that discourse should be viewed, not as a level of language structure ‘beyond the sentence’, but as sequenced communicative behaviour, typically but not uniquely involving language. (...) This provides for continuity from exchanges making use of simple communicative resources such as single words and gestures to those making use of complex grammatical conventions. Supporting evidence comes from child language and from original experiments with adults using constrained language systems. The paper shows that the utility of emerging compositional language is not dependent on some critical level of complexity, and so defends the compositional account. (shrink)

Musicians sometimes shake their heads in wonderment at the remarkable incidence of musical creativity that occurred in Germany and Austria between the years 1750 and 1900. One after another, a series of musical giants arose in rapid succession, each unique, and each exemplifying human artistic genius of the highest possible order. That the German-speaking world dominated music composition during this period is scarcely open to question. But it was not always this way. In the seventeenth century, the first phase (...) of the period which has come to be known as the Baroque, the Italians were dominant, and in the centuries before that the Flemish composers of the Renaissance and the high Middle Ages like Ockeghem and Josquin des Pres were second to none in importance. (shrink)

Hud Hudson presents an innovative view of the metaphysics of human persons according to which human persons are material objects but not human organisms. In developing his account, he formulates and defends a unique collection of positions on parthood, persistence, vagueness, composition, identity, and various puzzles of material constitution. The author also applies his materialist metaphysics to issues in ethics and in the philosophy of religion. He examines the implications for ethics of his metaphysical views for standard arguments addressing (...) the moral permissibility of our treatment of human persons and their parts, fetuses and infants, the irreversibly comatose, and corpses. He argues that his metaphysics provides the best foundation in the philosophy of religion for the Christian doctrine of the resurrection of the body. Hudson addresses a broad range of metaphysical issues, but among his most strikingly original contributions are his defense of the "Partist" view and his argument for the compatibility of Christianity with a materialistic theory of human persons. (shrink)

Film production is the process of creating a film, involving stages such as progress, pre-production, invention, post-production, and sharing. It encompasses planning, scripting, shooting, editing, and finalizing the film for public viewing. The process of imagination drives innovation in scripting, directing, and cinematography, resulting in unique, engaging experiences that captivate audiences with their emotive stories. The principle of this investigation is to assess how psychological factors add to enhancing imagination in film production, focusing on their impact on creative processes and (...) outcomes. A study surveyed 680 students from college film program students to analyze their creative personality and imaginative capabilities using structured questionnaires. Key psychological constructs included Creative Self-Efficacy, Emotional Resilience, Cognitive Flexibility, and Intrinsic Motivation. The study investigated the impact of psychological factors on college cinema students' creative imagination in filmmaking, demonstrating high validity and reliability with Factor Loadings exceeding 0.76, Composite Reliability higher than 0.88, and Average Variance Extracted (AVE) range as of 0.59 to 0.67. Discriminant validity was confirmed as every construct AVE was better than its square correlations by other constructs. Psychological factors significantly influence film production imagination, fostering creative thinking and emotional depth. Understanding and harnessing these factors enhances storytelling, character development, and audience engagement, ultimately enriching the cinematic experience. (shrink)

This article shows how Arab students at an Arab college in Israel, majoring in teaching of mathematics, English, and science, rely on metaphor as an important rhetorical tool for the advancement of their ideological positions and for criticism of the policies of the Israeli government, which discriminates against and disenfranchises Arab Israelis. The underlying hypothesis of the article is that the way Arab students in Israel use metaphor in their writing has unique rhetorical aspects that help to sharpen their message (...) in pursuit of the broader goal of emphasizing Arab Israelis’ suffering and changing for the better the Israeli government’s discriminatory patterns of action against them. (shrink)