ArgumentFrom 1924 to 1948, developmental psychologist Arnold Gesell regularly used photographic and motion picture technologies to collect data on infant behavior. The film camera, he said, records behavior “in such coherent, authentic and measurable detail that... the reaction patterns of infant and child become almost as tangible as tissue.” This essay places his faith in the fidelity and tangibility of film, as well as his use of film as evidence, in the context of developmental psychology's professed need for (...) legitimately scientific observational techniques. It also examines his use of these same films as educational material to promote his brand of scientific child rearing. But his analytic techniques – his methods of extracting data from the film frames – are the key to understanding the complex relationship between his theories of development and his chosen research technology. (shrink)

The use of motion pictures for research has a long history, of course, but beyond documenting a phenomenon and then projecting it for demonstration, scientists using this technology spent much energy figuring out how to extract information from a strip of film. Understanding film (or audiovisual) analysis is therefore necessary to grasping the relationship between an object of study, moving-image technology, and scientific evidence. This article explores one common technique within that history of film analysis: projecting a frame of the (...) motion picture and then tracing the object of study onto paper, which was especially important for behavioral sciences such as developmental psychology or ethology. Behavior became tangible through a variety of means, but for those who relied on film for their observations, such as developmental psychologist Arnold Gesell, behavior took form at least partly through the process of tracing. Gesell's use of this technique reveals the broader functions of tracing as well as the patterns that emerge from its interplay with other inscriptions in the creation of evidence. How does behavior take form? The practice of tracing provides one answer to this larger question. (shrink)

This special issue considers the significance of film to the establishment and development of scientific approaches to the mind. Bonnie Evans explores how the origins of film technologies in 1895 in France encouraged a series of innovative collaborations, influencing both psychological theorisation, and new filming techniques. Jeremy Blatter explains how Harvard psychologist Hugo Münsterberg created early films specifically designed to engage audiences using psychological tactics. Scott Curtis’ article examines how Yale psychologist Arnold Gesell was able to extract scientific (...) data from a film. Felix Rietmann’s article explores a collection of infant observation films from the 1930s and 1960s and how they developed unique narratives of mothers’ engagement with their children that did not necessarily match up with dominant scientific theories. Janet Harbord's article considers how a trilogy of films made at the Maudsley Hospital in the 1950s engaged with innovative film-making techniques that captured behaviour as discrete units. Seth Watter further examines how William S. Condon's use of the unique technology of the Bell and Howell 173BD projector in the 1960s created new understandings of human behaviour that could not have been predicted in advance, and which were highly influenced by the technology itself. Finally, Des O’Rawe explores how radical approaches in both anti-psychiatry, and documentary film-making in the 1960s created new opportunities for audiences to engage with different psychological states. All of these developments in film and psychology continue to influence understandings in both these fields to the present day. (shrink)

In this essay I enter into a recently published debate between Stephen Schiffer and Jerry Fodor concerning whether adequate sense can be made of the ceteris paribus conditions in special science laws, much of their focus being on the case of putative psychological laws. Schiffer argues that adequate sense cannot be made of ceteris paribus clauses, while Fodor attempts to overcome Schiffer's arguments, in defense of special science laws. More recently, Peter Mott has attempted to show that Fodor's response to (...) Schiffer fails, and furthermore that further study shows that the logical framework in which Schiffer and Fodor address their issue is susceptible to inconsistency.In this essay I argue that adequate sense can be made of ceteris paribus conditions. Against Mott, I argue that recent work in the model theory of non-monotonic logic indicates how his problem involving logical inconsistencies can be overcome. Against Schiffer, I argue that the claims that he makes against ceteris paribus clauses would lead to a fatal skepticism concerning indefinitely many of the claims we make about the world (and indeed that his claims would be destructive of the view of the special sciences that Schiffer himself presents in his paper), and that the semantical considerations from non-monotonic logic that I present provide a suitable framework for dealing with his complaints. Thus I come out on the whole on Fodor's side of this debate, although for my own reasons, as I argue against much of Fodor's own argumentation. (shrink)

Brought about through philosophical analysis – a first in the history of art – paradigm shifts in the ontology and epistemology of sculpture are described, motivated, and exemplified with pieces they inspired. Navigating the new aesthetic environment requires an ‘escape from Plato's Cave’ by means of a kind of phenomenological reduction. The new conceptual foundation allows artists unprecedented levels of freedom to explore and innovate, connects sculpture to music, and has the potential to enhance significantly the appreciation of art and (...) its impact on contemporary culture. The algorithmic nature of my paradigms shows that art and science have more in common than previously thought. (shrink)

Ce papier présente le corpus des discours du Premier ministre anglais (Tony Blair) prononcés de 1997 à 2004. Avant d'être intégrés dans le corpus, les textes sont corrigés, les graphies sont standardisées. On montre que ce corpus ouvre de nombreuses pistes de recherches. Deux exemples sont donnés : les principales ruptures thématiques et stylistiques permettent de repérer deux grandes périodes dans ces huit années ; on caractérise la richesse du vocabulaire de T. Blair à l'aide des notions de spécialisation et (...) de diversité. (shrink)

Provides the theory in logic, knowledge phenomenon, the relations of logic and scientific methods, ideologies, relations and logical methods, logic and languages with logic in the aspects of science in valid thinking.

The question that this paper sets out to answer is: How do political processes within the firm structure corporate political strategy? In answering this question thepaper starts to address the research problem of the congruence between processes of consensus building and conflict resolution within the firm and on the other hand corporate attempts to influence political processes taking place outside the firm. The paper argues that power-dependence relations between firm-internal stakeholders are an explanatory factor in examining empirical variation in corporate (...) political behavior. (shrink)

Tackling the question whether beauty is a property as if the problem of universals could safely be ignored leads to confusions exemplified in Scruton 2009, McMahon 2007, Zangwill 2001 and Scarry 1999, among recent writers. I frame the question in the proper context with a measure of precision, clear away misunderstandings, present a logically valid argument for an affirmative answer, list three relevant and four irrelevant ways of countering the argument, and show that well-known views of Hume and Kant yield (...) relevant objections only if construed in Russellian terms, but still fail. Finally, I sketch a realization account of beauty along Platonist lines, similar to Hogarth’s. (shrink)

In this book Arnold Berleant develops a bold alternative to the eighteenth-century aesthetic of disinterestedness.

Why do people buy particular products? Which are the antecedents that lead to the decision in favour of or against the purchase? Knowledge of the underlying semiotic and perceptual mechanisms is of key importance for understanding marketing processes. There are different psychological approaches that help to explain the effects of advertisements and product design. Analysing the sign processes of marketing clarifies the strategies applied. By identifying the manipulative functions of advertising, this book supports the consumers' critical discourse.

The term “objective” has both a metaphysical and an epistemological meaning, and each of these meanings gives rise to a corresponding objective-subjective dichotomy. A formal definition of objectivity is given, and this clarifies the nature of the epistemological dichotomy. These dichotomies are represented by classes of existents, and a Venn-type diagram is used to illustrate the relationship between them. It is shown that the class of all existents can be partitioned into three mutually exclusive and exhaustive classes, which correspond to (...) Rand's intrinsic-subjective-objective trichotomy. (shrink)