Angesichts des Ausstellungsbetriebs, bei dem das, dem eine Ausstellung doch dienen soll: das Kunstwerk und sein Betrachter, immer mehr zur Staffage der Selbstinszenierung bedeutungsschwangerer Ausstellungsräume gerät, und angesichts einer von nahezu allen Wissenschaften, die mit Kunst sich beschäftigen, vollzogenen Verabschiedung des Kunstwerks als sinnvoller Kategorie, von einer Ästhetik im Ausgang vom Werk noch zu reden, scheint, gelinde gesagt, anachronistisch. Überall ist es offensichtlich und die entsprechenden Theorien sanktionieren es: Kunst ist, was das öffentliche Gerede und die Kaufkraft der Finanzfachleute dazu (...) macht, symbolisches und reales Kapital. Daß aber dieser Prozeß zu seiner Legitimation sich stets noch auf substantielle Werke bezieht, legt die Vermutung nahe, daß mit ihrem Verschwinden auch der Leerlauf des Betriebs sich offenbaren, dieser zusammenbrechen würde. So ist dasjenige, das die autonome Kunst zu verschlingen droht, zugleich dasjenige, das von ihrem Fortbestehen zeugt. – Wenn anders Kunst aber als autonom soll gelten können, so muß sie es in ihren Gebilden: den Kunstwerken selbst erweisen. (shrink)

Bien connues, les dix-sept lithographies conçues par Eugène Delacroix d’après le Faust de Goethe, insérées dans un livre imposant paru en 1828 sous la double enseigne du libraire Auguste Sautelet et de l’imprimeur-lithographe Charles Motte, constituent une série souvent analysée par les historiens de l’art dans la perspective de l’œuvre du peintre. En modifiant cette approche, l’article la considère sous l’angle de son support, le livre dans lequel elle a été insérée, et en relation avec ce qui l’entoure, (...) le texte de la tragédie et les propos de Delacroix, en valorisant un faire de l’imagination, d’inspiration multiple et de facture inter-iconique. Grâce au collationnement d’une quinzaine d’exemplaires du livre, conservés dans les dépôts publics de plusieurs pays, on découvre en quoi la quinzième lithographie, l’apparition de Marguerite au sabbat, est exceptionnelle. L’interprétation proposée se fonde sur le rôle de l’ imagination dans ce Faust français, la pratique graphique de Delacroix, le passage afférent, et Le Voyage en Italie de Goethe. Quelques rectifications sur la manière usuelle de considérer cette œuvre sont apportées. (shrink)

le thème littéraire du peintre et de son modèle (une femme désirée sous le regard d’un artiste masculin) est revisité ici pour le XIXe siècle, à partir des écrits personnels de Delacroix, Renoir, Morisot et Bashkirtseff. Comment, dans sa vie et dans son atelier, chacun vit-il la confrontation avec l’autre sexe? L’acte de peindre transcende les rapports ordinaires entre hommes et femmes, mais les règles sociales imposent des comportements différents selon les sexes. Qu’il s’agisse de la reconnaissance publique, de (...) la pratique d’un métier ou des formes d’expression de la sensualité picturale, les voies ouvertes aux unes et aux autres ne sont pas semblables. (shrink)

This article draws on the conclusion of the Commission on the Humanities in The Humanities in American Life that the aim of a liberal arts education is to foster critical reasoning through the use of language or discourse. This paper maintains that the critical method is in itself insufficient to achieve its purpose. Its failure is in its exclusion of feeling and of silence from the thinking process. Hence, the ultimate object of my analysis is to correct and to complement (...) the critical method with the aesthetic method of teaching the humanities. Central to the aesthetic method is art as a means to cultivate contemplative and creative skills. The essay brings out and examines the value of art as voices of silence in Plato, Aristotle, Augustine, Dionysius, Bonaventure, Maurice Merleau‐Ponty and Paul Gauguin, and pays particular attention to the diaries of Eugène Delacroix. In the course of doing so, I shall be trying to make clear that art teaches us how to listen and how to encounter ourselves totally and completely. It goes on to suggest several pedagogical principles or consequences that flow from this aesthetic pedagogy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 501-519 [Access article in PDF] Nietzsche and Early Romanticism Judith Norman Nietzsche was in many ways a quintessentially romantic figure, a lonely genius with a tragic love-life, wandering endlessly (through Italy, no less) before going dramatically mad, taken by his gods into the protection of madness (to quote Heidegger's epithet on Hölderlin, one of Nietzsche's childhood favorites). 1 But this is (...) to be a romantic in an uncapitalized manner, and has nothing to do with the literary movement of Romanticism, a movement from which, as is well-known, Nietzsche distanced himself loudly and vigorously. Nietzsche famously follows Goethe in his verdict that Romanticism is a form of sickness and classicism a form of strength, and commentators, for the most part, have accepted this self-description. 2 That is, they do not blithely identify Nietzsche with that nineteenth-century artistic movement, whose proponents include Victor Hugo, Eugene Delacroix, and Richard Wagner. 3But Romanticism is a plural phenomenon. When Goethe made his famously dismissive remark, he was clearly not talking about Hugo and Wagner; he meant Romanticism in an earlier incarnation. Commentators have been less reticent about finding all sorts of affinities between Nietzsche and some of these earlier movements. In particular Nietzsche is frequently and positively compared to Jena Romanticism (also known as early Romanticism), a movement whose principal figures included August and Friedrich Schlegel, Novalis, Tieck, Schleiermacher, and Schelling, and the writings they published in the 1790s, principally in the journal, Athenaeum. It is this romantic movement that will be the focus of my paper. Jena romantics, while Grecophile, had nothing to do with Rousseauean primitivism (they were well aware that their image of the [End Page 501] Greeks reflected contemporary fantasies more than historical reality), they had no cult of the genius, and they did not valorize emotion above reason. 4 What was central to their movement was profound skepticism about the viability of traditional attitudes towards truth, an intellectually rigorous theory of art that gave particular weight to playfulness, fragmented writing, the notion of literary irony, a sense that the philosopher ought to be or become more of an artist (though not a genius)—and, correlatively, that philosophy is or ought to become more artistic. All of which sounds decidedly Nietzschean. Romanticizing Nietzsche While Nietzsche himself never makes the connection, he never explicitly distances himself from the authors of Jena romanticism in the way he does from later romantic figures. 5 Indeed, he barely mentions the Jena romantics by name and probably never read Friedrich Schlegel, the figure most closely associated with this romantic movement. 6 As such, there is certainly space for commentators to argue for a close if tacit intellectual connection between Nietzsche and Jena romanticism; indeed, one commentator speaks of a fundamental affinity, 7 another calls Nietzsche the last romanticist, and yet another claims that "[Nietzsche's] story makes sense only when read in the larger context of his Romantic predecessors' history." 8It is undeniable that Nietzsche came out of a philological tradition inaugurated by the Schlegels (and developed by Schelling) which juxtaposed the Dionysian and the Apollinian in Greek tragedy. According to Lacoue-Labarthe, "an entire tradition of academic philosophy (which, on his own initiative, Nietzsche had joined) revolved around precisely this opposition." 9 At least in [End Page 502] his earlier works Nietzsche's view of the Greeks was influenced by (if not predicated on) the scholarly research and interpretative theories of figures associated with Jena romanticism. How profound and enduring this influence might have been is an interesting question, but not one I will explore at present. I will not discuss the influence of the Jena romantics in their scholarly capacity as classical philologists, but rather focus on any impact they may have had as philosophically minded literary critics during the 1790s. Similarly, I will not look at The Birth of Tragedy but rather focus on claims made concerning the romantic tendencies of Nietzsche's later work. A body of scholarship has been building which claims that the critical theories of Jena... (shrink)

In his rich and detailed study, Baldwin explains how this image of a seated man and a dancing woman embodies themes and motifs that can be found in the work of nineteenth-century artists from Eugéne Delacroix to John Frederick Lewis to ...

Lors de la commemoration du septieme centenaire de l'anniversaire de la naissance de Dante Alighieri (1265-1321), Etienne Gilson qui avait publie dans les annees quarante un ouvrage rapidement devenu un classique sur la pensee de Dante (Dante et la philosophie), a repris la plume pour rendre hommage au grand poete et penseur italien. Dans ce volume sont publies les neuf articles qui abordent certains des themes fondamentaux de la reflexion de Dante comme la nature du ciel Empyree, le rapport entre (...) poesie et theologie ou encore la signification de la vision merveilleuse. Le volume s'ouvre avec une belle introduction a la pensee de Dante et se termine par une meditation sur Dante et Eugene Delacroix. (shrink)

Eugene Marshall presents an original, systematic account of Spinoza's philosophy of mind, in which the mind is presented as an affective mechanism that, when rational, behaves as a spiritual automaton. He explores key themes in Spinoza's thought, and illuminates his philosophical and ethical project in a striking new way.

Linguistics. Artificial intelligence. Related fields. Computation.

Most Artificial Intelligence theories of language either assume a syntactic component which serves as “front end” for the rest of the system, or else reject all attempts at distinguishing modules within the comprehension system. In this paper we will present an alternative which, while keeping modularity, will account for several puzzles for typical “syntax first” theories. The major addition to this theory is a “marker passing” (or “spreading activation”) component, which operates in parallel to the normal syntactic component.

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, George (...) Eliot, Jean-Auguste Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

The purpose of the paper is to introduce a recursive model of ecological discursive sustainability, as it applies to and emerges from the history of an after-school program partnership between the School of Education at the University of Delaware, USA and the Latin American Community Center in Wilmington, Delaware, USA. This model is characterized by the development of shared ownership and collaboration between the institutional partners, the co-evolution and crossfertilization of the partners’ practices and the negotiation of institutional boundaries and (...) structures. This model was developed by analyzing dialogic discourses across six diverse ecological domains of the partnership. The purpose of the paper is to introduce a recursive model of ecological discursive sustainability, as it applies to and emerges from the history of an after-school program partnership between the School of Education at the University of Delaware and the Latin American Community Center in Wilmington, Delaware. This model is characterized by the development of shared ownership and collaboration between the institutional partners, the co-evolution and cross-fertilization of the partners' practices and the negotiation of institutional boundaries and structures. This model was developed by analyzing dialogic discourses across six diverse ecological domains of the partnership. (shrink)

Paul Signac and Color in Neo-Impressionism is a groundbreaking examination of the artistic technique of "divisionism" in terms of modern scientific theory of color. Truly interdisciplinary in his approach, Floyd Ratliff treats the evolution of both color theory and artistic practice in an integrated way. Signac was the principal advocate for the new movement launched by Georges Seurat in the 1880s. The book is handsomely illustrated with both Neo-Impressionist paintings and scientific drawings and diagrams. Ratliff's five-part essay provides an extended (...) introduction to a translation of Signac's monograph, From Eugene Delacroix to Neo-Impressionism, widely regarded as the basic document of the movement, but never before available in English. This will be an invaluable reference for scholars in art and design, as well as students of the psychology and neurophysiology of color vision and those interested in the relation between the arts and the sciences. Its clarity of style also makes it accessible to the general reader interested in art history, painting, or the perception of color, particularly with its glossary of technical and art terms, index, and bibliography. (shrink)

Der Philosoph Frane Petrić , widmet einen bedeutenden Teil seiner Studien über Ontologie und Kosmologie, insbesondere in seinen Hauptwerken Discussiones peripateticae und Nova de universis philosophia, einer höchst originellen Untersuchung des Lichtes und der Zeit, zwei Konzepten, die auch in Einsteins „Zur Elektrodynamik bewegter Körper“ eine wichtige Rolle spielen. Bei der Gegenüberstellung der Konzepte dieser zwei Philosophen kommt ihre Verwandtschaft in jedem der erwähnten Systeme zum Ausdruck. Sowohl für Patricius, als auch für Einstein besitzt das Licht eine einmalige, unveränderliche Funktion (...) im Universum. In seiner Analyse der Zeit und mit ihr verwandter Konzepte, beispielsweise der Dauer, entwickelte Patricius eine konzeptuelle Struktur, dynamisch genug, um ihre Konsistenz mit Einsteins Analyse von Zeit und Simultaneität erkennbar zu machen. (shrink)

Taking the formal analogies between black holes and classical thermodynamics seriously seems to first require that classical thermodynamics applies in relativistic regimes. Yet, by scrutinizing how classical temperature is extended into special relativity, I argue that the concept falls apart. I examine four consilient procedures for establishing the classical temperature: the Carnot process, the thermometer, kinetic theory, and black-body radiation. I argue that their relativistic counterparts demonstrate no such consilience in defining the relativistic temperature. As such, classical temperature doesn’t appear (...) to survive a relativistic extension. I suggest two interpretations for this situation: eliminativism akin to simultaneity, or pluralism akin to rotation. (shrink)

We blame faulty brakes for a car crash, or rain for our bad mood. This “merely causal” blame is usually seen as uninteresting. I argue that it is crucial for understanding the interpersonal blame with which we target ourselves and each other. The two are often difficult to distinguish, in a way that plagues philosophical discussions of blame. And interpersonal blame is distinctive, I argue, partly in its causal focus: its attention to a person as cause. I argue that this (...) causal focus helps explain several central characteristics of interpersonal blame: its tendency to exaggerate a person’s causal role, its weakening through attention to personal history or thoughts about determinism, its characteristic ‘force’ or ‘sting’, and our sense that blame is often harmful or unfair. I conclude by drawing out one implication of blame's causal focus: in a certain range of cases, blame is partly under our voluntary control. (shrink)

The concepts of self-interest and self-love feature prominently in both The Theory of Moral Sentiments and The Wealth of Nations. Various notions of self-preservation, self-interest, and self-love are distinguished, and it is shown how self-love functions less as a motive than as an orientation. Although self-love may corrupt moral perception, the impartial spectator serves as an antidote. Smith’s conception of self-interest in The Wealth of Nations is a broad one and not inconsistent with the moral psychology of The Theory of (...) Moral Sentiments. That the virtue of benevolence features less in The Wealth of Nations than The Theory of Moral Sentiments is not surprising given Smith’s overall account of sympathetic interaction, as well as the threshold of knowledge required for benevolent action. The chapter closes with a summary consideration of prudence, a virtue grounded in self-interest, and an examination of the status of ambition. (shrink)

The most compelling arguments for ethical veganism hinge on premise-pairs linking the serious wrongness of factory farming to that of buying its products: one premise claiming that buying those products stands in a certain relation to factory farming itself, and one claiming that entering into that relation with a seriously wrong practice is itself wrong. I argue that all such “linkage arguments” on offer fail, granting the serious wrongness of factory farming. Each relevant relation is such that if it holds (...) between factory farming and buying its products, then it holds between some seriously wrong practice and economic transactions of an absurd number and breadth. Hence, all these premise-pairs would, if true, generate unacceptable moral overreach; each premise-pair contains at least one unacceptable member, and the linkage arguments for ethical veganism fail. (shrink)

In this radical critique of contemporary social theory, Eugene Halton argues that both modernism and postmodernism are damaged philosophies whose acceptance of the myths of the mind/body dichotomy make them incapable of solving our social dilemmas. Claiming that human beings should be understood as far more than simply a form of knowledge, social construction, or contingent difference, Halton argues that contemporary thought has lost touch with the spontaneous passions—or enchantment—of life. Exploring neglected works in twentieth century social thought and philosophy—particularly (...) the writings of Lewis Mumford and Charles Peirce—as well as the work of contemporary writers such as Vaclav Havel, Maya Angelou, Milan Kundera, Doris Lessing, and Victor Turner, Halton argues that reason is dependent upon nonrational forces—including sentiment, instinct, conjecture, imagination, and experience. We must, he argues, frame our questions in a way which encompasses both enchantment and critical reason, and he offers an outline here for doing so. A passionate plea for a fundamental reexamination of the entrenched assumptions of the modern era, this book deals with issues of vital concern to modern societies and should be read by scholars across disciplines. Robert Bellah: "This is an original, incisive, and badly needed book. In prose as vigorous as his argument, Halton addresses issues urgent in many disciplines, as well as in our common culture." "Halton takes the 'ghost in the machine' as a dominant defining metaphor for modern thought and life, and criticizes it with gusto, wit, wide reading, and philosophical acumen."—Robert J. Mulvaney, _Review of Metaphysics_. (shrink)

Conventional wisdom holds that the von Neumann entropy corresponds to thermodynamic entropy, but Hemmo and Shenker (2006) have recently argued against this view by attacking von Neumann's (1955) argument. I argue that Hemmo and Shenker's arguments fail due to several misunderstandings: about statistical-mechanical and thermodynamic domains of applicability, about the nature of mixed states, and about the role of approximations in physics. As a result, their arguments fail in all cases: in the single-particle case, the finite particles case, and the (...) infinite particles case. (shrink)

Some conceptions of the role of philosophers in climate change focus mainly on theoretical progress in philosophy, or on philosophers as individual citizens. Against these views, I defend a skill view: philosophers should use our characteristic skills as philosophers to combat climate change by integrating it into our teaching, research, service, and community engagement. A focus on theoretical progress, citizenship, expertise, virtue, ability, social role, or power, rather than on skill, can allow for some of these contributions. But the skill (...) view, I argue, uniquely captures the breadth of philosophers’ role in climate change; promises to make us more effective in practice; and offers a compelling way to overcome our own lingering climate denial by integrating climate change into all aspects of philosophical activity. (shrink)

Programs in quantum gravity often claim that time emerges from fundamentally timeless physics. In the semiclassical time program time arises only after approximations are taken. Here we ask what justifies taking these approximations and show that time seems to sneak in when answering this question. This raises the worry that the approach is either unjustified or circular in deriving time from no–time.

Am şlefuit materia pentru a afla linia continuă.Und das Problem ensteht: was is das, was übrigbleibt, wenn ich von der Tatsache, daß ich meinen Arm hebe, die abziehe, daß mein Arm sich hebt?Acknowledged to have launched modern poetry with Les Fleurs du mal, Charles Baudelaire was also a prolific and influential art critic, a close friend of Edouard Manet, and an early champion of Eugène Delacroix. At one time decidedly not a friend of sculpture, Baudelaire published a critique (...) of this art form in a section of his Salon de 1846 titled “Pourquoi la sculpture est ennuyeuse” :3Sculpture has several disadvantages inherent in the medium itself. Crude and direct like nature, sculpture is.. (shrink)

Thus far most of the scholarship on the axial age has followed Karl Jaspers’ denial that nature could be a significant source and continuing influence in the historical development of human consciousness. Yet more than a half century before Jaspers, the originator of the first nuanced theory of what Jaspers termed the axial age, John Stuart-Glennie, mapped out a contrasting philosophy of history that allowed a central role to nature in historical human development. This essay concerns issues related to my (...) book, From the Axial Age to the Moral Revolution, and begins with a discussion of how I came to uncover the forgotten work of John Stuart-Glennie. Although Jaspers and Stuart-Glennie each drew similar conclusions regarding many of the facts of the moral revolution respectively the Axial Age, there are significant differences in their philosophies of history, concerning, for example the problem, whether history can be regarded deterministically or as an open whole, and whether nature can be a source of profound spiritual significance and even transcendence or whether that realm is limited to historical consciousness. I also briefly discuss two other overlooked contributors, namely D. H. Lawrence, who wrote on the phenomena twenty years before Jaspers, and Lewis Mumford, who is one of the first writers to draw from Jaspers' work. I then respond to four diverse scholarly essays on my book, delineating in the process my own philosophy of history as a progress in precision, paradoxically counteracted by a regressive contraction of mind. (shrink)

ETUDES DE PHILOLOGIE ET D'HISTOIRE Bertram Eugene Schwarzbach Voltaire's Old Testament Criticism 1971 - LIBRAIRIE DROZ- GENEVE ...

Multi-level selection can be understood via the Price equation or contextual analysis, which offer incompatible statistical decompositions of evolutionary change into components of group and individual selection. Okasha argued that each approach suffers from problem cases. I introduce further problem cases for the Price approach, arguing that it is appropriate for MLS 2 group selection but not MLS 1. I also show that the problem cases Okasha raises for contextual analysis can be resolved. For some such cases, however, it emerges (...) that there is no determinate answer to the question of how much of the total selective effect was due to group selection compared to individual selection. This suggests that when there is interaction between the effect of group character and individual character, one cannot separate selection into distinct ‘levels’ at all. (shrink)

Applying new theories about rights to pressing social issues, A Holistic Approach to Rights suggests major changes are needed in the ways we think about rights and formulating social policy.

The aim of this article is to introduce the concept of Cognitive Fitness (CF), identify its key ingredients underpinning both real-time task performance and career longevity in high-risk occupations, and to canvas a holistic framework for their assessment, training, and augmentation. CF as a capacity to deploy neurocognitive resources, knowledge and skills to meet the demands of operational task performance, is likely to be multi-faceted and differentially malleable. A taxonomy of CF constructs derived from Cognitive Readiness (CR) and Mental fitness (...) (MF) literature maps into phases of operational cycles from foundational to advanced, mission-ready and recovery. Foundational cognitive attributes, such as attention, executive control and co-action, were hypothesized to be trainable at the initial Cognitive Gym phase. More advanced training targets at the CR phase included stress and arousal regulation, adaptability, teamwork, situation awareness (including detection, sense-making and prediction) and decision making (de-biasing and confidence calibration). The mission-ready training phase is focused on tolerances (to sleep loss, monotony, pain, frustration, uncertainty) and resistance (to distraction, deception or manipulation). Operational Augmentation phase relies on support tools such as decision aids and fatigue countermeasures, while the Recovery phase employs reflexive (e.g., mindfulness), and restorative practices (e.g., nutrition and sleep hygiene). The periodization of cognitive training in this cycle is hypothesized to optimize both real-time cognitive performance and the resilience that enables life-long thriving. One of the most promising avenues of validating this hypothesis is by developing an expert consensus on the key CF ingredients and their relative importance in high-performance settings. (shrink)

The article deals with currents and tides. We look at the history of their observation in antiquity as well as alternative theories, designed to explain their nature. Major theories accessed are those by Aristotle, Posidonius and Seneca. Special attention is given to ancient explanation of the phenomenon of the periodical change of the stream in Euripus’ channel. Throughout we refl ect on an analogy between natural phenomena and the processes occurring in living organisms, common to our philosophers of nature, as (...) well as the peculiarities of their interpretation of the theory of mutual transformation of the elements. Besides, it is important to note the place of the method of analogy in their observations and theoretical constructions. (shrink)

John Constable is one of England’s best-known landscape painters and greatest artists. While few will object to this statement, what it means will depend on when it was made. In the 150 years since his death in 1837, the terms of Constable’s greatness have shifted several times. In the nineteenth century his scenes of the Stour Valley in Suffolk were valued as images of a particularly English countryside: the placid river with its locks and barges, great overhanging trees, and distant (...) green water-meadows beneath massive cloudy skies. In this century, though the popular conviction of his Englishness persists, Constable is better known as “The Natural Painter.”1 As modernism rewrote the history of art, Constable was rediscovered as the man who excited Eugène Delacroix and other French artists in the 1820s: the natural painter whose freedom of technique, color, and chiaroscuro suggested a new way of representing the truth of landscape. The happy accident of his reception in France in the 1820s anchors English claims to participate in the development of an international style that moves through impressionism toward the more purely painterly and formal values of modernism. This Constable probably still dominates contemporary critical discussions of his work: the truthful student of nature who is also a painter’s painter.2 There is more than a little chauvinism in this view of Constable, but it is the national feeling of a less confident age, always looking over its shoulder to other countries like France. 1. This is the title of Graham Reynolds’ seminal book, Constable, the Natural Painter .2. See, for example, Malcolm Cormack’s recent book, Constable ; hereafter abbreviated C. Elizabeth Helsinger is professor of English at the University of Chicago and coeditor of Critical Inquiry. Her Ruskin and the Art of the Beholder was published in 1982. This essay is part of a book in progress on representations of the rural scene in Victorian England. (shrink)

The Peripatetic treatise Peri pneumatos has recently received a great deal of scholarly attention. Some authors, predominantly A. Bos and R. Ferwerda, try to prove that the treatise is a genuine work of Aristotle and all the theories advanced in the text can be ultimately explained by references to this or that Aristotelian doctrine. Quite on the contrary, P. Gregoric, O. Lewis and M. Kuhar are firmly convinced that the treatise contains some physiological ideas introduced after Aristotle and are inclined (...) to support the traditional dating of the treatise to the time after Praxagoras of Cos. Largely in agreement with the latter proposition, in the present study I tentatively place this earliest and unique witness of the discussions on the source of growth and nourishment of the so-called connate pneuma in the context of the Peripatetic tradition of the Early Hellenistic period. The treatise is translated into the Russian for the first time. (shrink)