The process-dissociation procedure was used to estimate the influence of spatial and form-based processing in the Simon task. Subjects made manual responses to the direction of arrows . The results provide evidence that the form and spatial location of a single stimulus can have functionally independent effects on performance. They also indicate the existence of two kinds of automaticity—an associative component that reflects prior S-R mappings and a nonassociative component that reflects the correspondence between stimulus and response codes.

The immediate occasion for this special issue was Christia Mercer’s influential paper “The Contextualist Revolution in Early Modern Philosophy”. In her paper, Mercer clearly demarcates two methodologies of the history of early modern philosophy. She argues that there has been a silent contextualist revolution in the past decades, and the reconstructivist methodology has been abandoned. One can easily get the impression that ‘reconstructivist’ has become a pejorative label that everyone outright rejects. Mercer’s examples of reconstructivist historians of philosophy are deceased (...) (P. F. Strawson, Margaret J. Osler, Richard Watson, and Bernard Williams), anonymous (the fans of philosopher* mentioned by Lisa Downing), or authors whose more recent work followed a contextualist methodology (Jonathan Bennett). The reconstructivist camp seems to have turned into a shadowy group, largely extinct by now, not unlike the Death Eaters in the fictional universe of Harry Potter. There are some figures who previously belonged to this group, but they have since reformed their ways – or so it seems. Sometimes it is rumoured that certain people may still have secret allegiance to it, but no one dares to fly its banner openly. We decided to create this special issue because we believe that reconstructivist methodology does not deserve this shadowy existence. (shrink)

The main aim of this work is to contribute tothe elucidation of the concept of informationby comparing three different views about thismatter: the view of Fred Dretske's semantictheory of information, the perspective adoptedby Peter Kosso in his interaction-informationaccount of scientific observation, and thesyntactic approach of Thomas Cover and JoyThomas. We will see that these views involvevery different concepts of information, eachone useful in its own field of application. This comparison will allow us to argue in favorof a terminological `cleansing': it (...) is necessaryto make a terminological distinction among thedifferent concepts of information, in order toavoid conceptual confusions when the word`information' is used to elucidate relatedconcepts as knowledge, observation orentropy. (shrink)

In recent years, many philosophers of modern physics came to the conclusion that the problem of how objectivity is constituted (rather than merely given) can no longer be avoided, and therefore that a transcendental approach in the spirit of Kant is now philosophically relevant. The usual excuse for skipping this task is that the historical form given by Kant to transcendental epistemology has been challenged by Relativity and Quantum Physics. However, the true challenge is not to force modern physics into (...) a rigidly construed static version of Kant's philosophy, but to provide Kant's method with flexibility and generality. In this book, the top specialists of the field pin down the methodological core of transcendental epistemology that must be used in order to throw light on the foundations of modern physics. First, the basic tools Kant used for his transcendental reading of Newtonian Mechanics are examined, and then early transcendental approaches of Relativistic and Quantum Physics are revisited. Transcendental procedures are also applied to contemporary physics, and this renewed transcendental interpretation is finally compared with structural realism and constructive empiricism. The book will be of interest to scientists, historians and philosophers who are involved in the foundational problems of modern physics. (shrink)

The place of the emotions among the passions -- The analytic of the emotions I -- The analytic of the emotions II -- The dialectic of the emotions -- Pride, arrogance, and humility -- Shame, embarrassment, and guilt -- Envy -- Jealousy -- Anger -- Love -- Friendship -- Sympathy and empathy.

In lieu of an abstract, here is a brief excerpt of the content:THE GREAT GATSBY: ROMANCE OR HOLOCAUST? Thomas J. Cousineau Washington College In an otherwise appreciative response to The Great Gatsby, H. L. Mencken expressed a reservation about the plot ofthe novel, which he characterized as "no more than a glorified anecdote" (Claridge 156). Writing to Edmund Wilson, Fitzgerald suggested, in turn, that what Mencken did not find in Gatsby was "any emotional backbone at the very height of it" (...) (Turnbull 342). Critics ofthe novel, however, have tended to overlook the self-evident fact that the novel's ostensible emotional center—the reunion between Gatsby and Daisy—does not possess sufficient significance to justify the classic status that has been largely accorded to Fitzgerald's novel. We need only remember Daisy's effusive appreciation ofGatsby's "beautiful shirts," or the even more telling detail that the truly "romantic" moments in Daisy and Gatsby's relationship all occurred several years earlier in Louisville and that the period of the reunion is scarcely mentioned in the novel to convince ourselves that the putative grandeur of Gatsby's dream does not adequately account for the novel's power or its lasting significance. Reading Gatsby as a novel about its hero's dream makes of it, in fact, a precarious literary achievement, one whose numerous absurdities were perceptively delineated by the English novelist L.P. Hartley, who admired Fitzgerald's literary gifts but thought that he had squandered them in Gatsby. In a 1926 review of the novel, Hartley offered the following summary of its plot: An adventurer of shady antecedents builds a palace at a New York seaside resort, entertains on a scale which Lucullus would have marveled at but could not have approved, and spends untold sums ofmoney, all to 22Thomas J. Cousineau catch the eye ofhis one time sweetheart, who lives on an island opposite, unhappily but very successfully married. At last, after superhuman feats ofostentation and display, the fly walks into the web. A train ofdisasters follows, comparable in quantity and quality with the scale ofthe Great Gatsby's prodigies of hospitality. Coincidence leaps to the helm and throws a mistress under a motor-car. The car does not stop, which, all things considered, is the most natural thing that happens in the book. An injured husband finds the Great Gatsby in suicidal mood sitting on a raft in his artificial lake and (apparently) forestalls him; anyhowthey are both discovered dead. The elder Gatsby is unearthed and gives a pathetic account ofhis son's early years. All the characters behave as though they were entitled to grieve over a great sorrow, and the book closes with the airs oftragedy. (Claridge 178) Minor inaccuracies aside, this must be among the most cogent, disabused responses that the plot of The Great Gatsby has ever received. It is such a welcome antidote to the reams of interpretation ofthe novel produced by critics who, dutifully aping Nick Carraway in this respect, have allowed their conviction as to Gatsby's "greatness" to be matched only by their equally adamant certainty as to the moral tawdriness of Tom and Daisy Buchanan. As Hartley's exasperated summary reminds us, The Great Gatsby, read as the account ofthe eponymous hero's dream, simply cannot support the weight of morally serious interpretation that it would like to invite or that so many ofits critics, in their turn, would like to bestow upon it.1 Nor do we move any closer to appreciating the greatness of Gatsby by shiftingourattention tothe growth in moral awareness thatcountless critics have attributed toNick Carraway, whose self-evaluation as "one ofthe few honest people that I have ever known" (64) should in itself arouse our suspicions.2 As we shall see, the fruits ofNick's presumed moral education The seemingly indestructible resistance to Hartley's lucidity that has been displayed by the great majority ofthe novel's critics may be observed in the chapter that Jeffrey Hart devotes to Gatsby in his recently published Smiling Through the Cultural Catastrophe. Arguing that "magical transformation" is the novel's true subject (230), Hart credits Nick with achieving an "epiphany" whereby he recognizes Gatsby's superiority to "the whole damn bunch put together" (238) and concludes that the larger... (shrink)

In this paper I distinguish three senses of could turn out/couldhave turned out in an attempt to elucidate how each is connected tothe notion of discovery and how each determines that a statement ofthe form `X could turn out P' (`X could have turned out P') is true.I argue that the actuality-oriented sense of could turn outbest captures what we ordinarily mean when we use could turnout or could have turned out in a nonevidential sense.

In lieu of an abstract, here is a brief excerpt of the content:88 Reviews EPISTEMOLOGY OFMODERNISM WILLIAM R. EVERDELL History/ St. Ann'sSchool Brooklyn, NY 11201, USA [email protected] Ann Banfield. The Phantom Table:Woolf,Fry,Russelland the Epistemology of Modernism. Cambridge and New York: Cambridge U.P., 2000. £35.00; US$49.95. In Virginia Woolf's difficult masterpiece, The Waves(1931),each of several separate interior monologues-"streams of consciousness" in the American critical idiom-is separated from the next by an interpolated "Interlude". The interior monologues are assigned co different characters, bur (...) the Interludes are rendered from no perspectiveat all, verymuch like the "Time Passes"chapter of Woolf's earlier and better known novel, Tothe Lighthouse (1927).The passive voice and the demonstrative and indefinite pronotms are essential, removing from the scene not only the characters' points of view, but the author's as well. Numbered among the consequences of the new twentieth-century technique of interior monologue, the Interludes can be accepted today as one more trick of literary "Modernism", but for Woolf it was new, and the task of preventing any of her Interludes from becoming just another report from the rypical "omniscient narrator" of Victorian fiction was one of the most demanding she ever set herself as a writer. Like her friend the Post-Impressionist critic Roger Fry, she wanted to analyze the world outside the self into its smallest sensible elements, then show human selvesasthey formed by accumulating the experience of these myriad, random, discontinuous components, and finally to recombine these components in their two kinds, selvesand sense-able things, into a meaningful whole-a work of art. Rejecting both the idealism of Bradley and the British philosophical generation of the 1890sand the naive positivist materialism coming out of the 1850s, Bertrand Russell eventually settled on an ontology most philosophers call "realist " in that it rejected the view that the world accessible to the senses was no more than a mental construct and considered it naive to assign the origin of subjectivity to matter. The material world was, Russell thought, actually external -"out there". He did think, however,that all we knew of the external world was what wassensed by the sensesand pictured by the mind. He alsoconcluded (in essayslike "The Relation of Sense-data to Physics"written in 1910-17)d1at both that world and what we knew of it was presented in very small parts, and Reviews 89 analyzable down to them, or, in other words, that both ontology and epistemology were atomized. Each mind, with its senses, occupied, he thought, one of an infinite number of occupied and unoccupied "perspectives", each of which Lmiquely focused che "sensibilia"-whatever was perceived in che external world-like a Leibnizian monad. Machemacicallogic, on which Russell set che highest store, would be able, he thought, to bring together perspectives by providing a minimal secof cruchswhich, though abscracc,were objective in che sense chaccheywere noc private and could be agreed to by all. Something similar though rougher mighc be done for chesensibilia in cheworld "ouc chere" by che science of physics. Did Virginia Woolflearn from Bertrand Russell?To a latcer-dayacademic ic sounds too urrerly improbable, for che simple reason (obvious to academics) chat anyone who has made icto the upper levelsof English literature must have chosen cheseparticular heights to scale because the trail was so blessedlyfreeof chosenasry mathematical burrs and logical reazles,and the air so filledwith che pure chatter of French phenomenologisrs, that no hiker would ever have to struggle with analytical philosophy again. Lessmetaphorically, the separation of departments of literature from those of philosophy has come so close to divorce chat few in U.S. English Departments can make head or cail of che graduate thesis that one of Russell's philosophy students wrote on F.H. Bradley, and fewer still can trace the term "objective correlative" used by thac student (who was in fact T. S. Eliot) back to an early work of Husserl. Meanwhile, ic is taken for granted by those in Philosophy that there are no ideas worth discussing in Woolf, or, indeed, in any other novelise,greacthough she may be, Lmlessone is to descend from ontology and epistemology to the foothills of ethics and politics, or worse, aesthetics. (Among... (shrink)

Frankish's argument for illusionism -- the view that there are no real instances of phenomenal consciousness -- depends on the claim that phenomenal consciousness is an 'anomalous phenomenon', at odds with our scientific picture of the world. I distinguish two senses in which a phenomenon might be 'anomalous': its reality is inconsistent with what science gives us reason to believe, its reality adds to what science gives us reason to believe. I then argue that phenomenal consciousness is not anomalous in (...) the first sense, and the fact that phenomenal consciousness is plausibly anomalous in the second sense is only problematic if it can be shown that our introspectively-based reasons for believing in consciousness are epistemically problematic. I finish by suggesting that Frankish might be motivated to adopt radical naturalism because he takes doing so to be the appropriate response to the incredible success of natural science. I outline a way of thinking about the history of science which undermines this motivation. (shrink)

Gordon Baker and I had been colleagues at St John’s for almost ten years when we resolved, in 1976, to undertake the task of writing a commentary on Wittgenstein’s Philosophical Investigations. We had been talking about Wittgenstein since 1969, and when we cooperated in writing a long critical notice on the Philosophical Grammar in 1975, we found that working together was mutually instructive, intellectually stimulating and great fun. We thought that we still had much to say about Wittgenstein’s philosophy, and (...) it seemed to us that misinterpretations of passages in the Investigations were so extensive that it would be worth trying to write a detailed analytical commentary. It is difficult to recapture the excitement of those early days in being among the first to work on the microfilms and, subsequently, on the photocopies of Wittgenstein’s Nachlass. We spent many hundreds of hours poring over the typescripts and the often only semi-legible manuscripts, fascinated and privileged to be able to try to follow the development of the thoughts of a great philosophical genius. We talked endlessly about what we had found in Wittgenstein’s manuscripts and typescripts, and debated how it should be understood. The first fruit of our labours was Wittgenstein – Understanding and Meaning. Its guiding idea was to draw attention to the manner in which Wittgenstein linked the concepts of meaning, understanding and explanation, and so to bypass the connections between meaning, truth and truth-conditions that so fascinated philosophers of the 1970s, and to abandon the red-herring of assertion-conditions and anti-realism. After a hiatus of four years, during which time we wrote a controversial book entitled Frege – Logical Excavations and a polemical book on contemporary philosophy of language – Language, Sense. (shrink)

We apply an online optimization process based on machine learning to the production of Bose-Einstein condensates. BEC is typically created with an exponential evaporation ramp that is optimal for ergodic dynamics with two-body s-wave interactions and no other loss rates, but likely sub-optimal for real experiments. Through repeated machine-controlled scientific experimentation and observations our ’learner’ discovers an optimal evaporation ramp for BEC production. In contrast to previous work, our learner uses a Gaussian process to develop a statistical model of the (...) relationship between the parameters it controls and the quality of the BEC produced. We demonstrate that the Gaussian process machine learner is able to discover a ramp that produces high quality BECs in 10 times fewer iterations than a previously used online optimization technique. Furthermore, we show the internal model developed can be used to determine which parameters are essential in BEC creation and which are unimportant, providing insight into the optimization process of the system. (shrink)