Enhanced by over one thousand pictures and fifty maps, tells the story of Chicago and how it grew from a frontier outpost to become one of the great cities of the world.

In cultures with left-right-script, agentic behavior is mentally represented as following a left-to-right trajectory, an effect referred to as the Spatial Agency Bias. In this research, we investigated whether spatial representations of activities are universal across activities by analyzing the opposite concepts of “attack” and “defense”. Both behaviors involve similar actions but may differ in perceived agency. Moreover “defense” is necessarily always a response to an attack and may therefore be represented by a trajectory in the opposite direction. Two studies (...) found the classic SAB for activities representing attacking but a reduction and reversal for activities involving defense. Although the spatial representation of defense on the right was much weaker and less unequivocal than that of attack on the left, the results suggest that the spatial representations of defense and attack are located in different positions. Apparently not all actors and all activities are spatially represented on the left with a left-to-right trajectory but position and direction depend on the perceived agency. Directions for future research and applications of our findings are discussed. (shrink)

Mahadevan (2018, AAAI Conference. https://people.cs.umass.edu/~mahadeva/papers/aaai2018-imagination.pdf) proposes that we are at the cusp of imagination science, one of whose primary concerns will be the design of imagination machines. Programs have been written that are capable of generating jokes (Kim Binsted’s JAPE), producing line-drawings that have been exhibited at such galleries as the Tate (Harold Cohen’s AARON), composing music in several styles reminiscent of such greats as Vivaldi and Mozart (David Cope’s Emmy), proving geometry theorems (Herb Gelernter’s IBM program), and inducing (...) quantitative laws from empirical data (Pat Langley, Gary Bradshaw, Jan Zytkow, and Herbert Simon’s BACON). In recent years, Dartmouth has been hosting Turing Tests in creativity in three categories: short stories, sonnets, and dance music DJ sets. In this post, I will provide a brief and non-exhaustive survey of some plausible responses to these imagination machines and the related prospects for our understanding of the imagination. (shrink)

general, abstract situation. On the other side, I know that graduate students and all mathematicians sometimes falter because their intuitive, ..

Mugler maintains that interpreters have been mistaken in drawing from the pedagogical plan of Republic VII any general conclusion concerning the relative position which Plato assigned to philosophical speculation and mathematics, that in Plato's own intellectual experience the relation of the two was the reverse of that assigned to them there, mathematics being more often the end of metaphysical reflection than its point of departure, and that he recommended mathematical study to his pupils not merely as a propaedeutic for dialectic (...) but primarily because from his own experience he believed that subsequent philosophical meditation upon the fund of knowledge thus acquired would often lead to mathematical discoveries. Mugler does not say how this thesis is to be reconciled with the fact that at the end of the Laws dialectic is still declared to be the supreme science and that in such a late passage as Philebus 57 D ff. as well as in an early one like Euthydemus 290 C, neither of which is "pedagogical," the supremacy of dialectic and its priority to mathematics are affirmed as emphatically as in Republic VII; he simply says that a close interpretation of the "metaphysical" dialogues and the Timaeus will substantiate his contention, and it is therefore necessary to examine his interpretation in detail. (shrink)

Art has not always had the same salience in philosophical discussions of ethics that many other elements of our lives have. There are well-defined areas of "applied ethics" corresponding to nature, business, health care, war, punishment, animals, and more, but there is no recognized research program in "applied ethics of the arts" or "art ethics." Art often seems to belong to its own sphere of value, separate from morality. The first questions we ask about art are usually not about its (...) moral rightness or virtue, but about its beauty or originality. However, it is impossible to do any serious thinking about the arts without engaging in ethical questions. (shrink)

What grounds a judgment that a work of art is immoral? This book argues that we cannot judge artworks morally in the same way that we judge people. What>'s more, there is no direct influence from moral judgments to aesthetic judgments: it is possible for artworks to be both immoral and beautiful.

The Alcibiades purports to offer us the very first conversation between Socrates and Alcibiades. Previously, it seems, Socrates has just lingered at the back of a crowd of lovers looking rather stupid. This is hardly surprising. Socrates did look stupid, and both Aristophanes and his rival Ameipsias thought that he was good enough material for a laugh to present him on stage in their comedies at the Dionysia of 423 BC. The only slight surprise here is that Alcibiades, though he (...) is mentioned in other Aristophanic comedies, is never actually named in the Clouds. One might suspect that the young man Pheidippides, whom Socrates exposes to the corrupting influence of philosophic argument and the ensuing amoral attitudes, bears some relationship to Alcibiades. He shares with him a partially Alcmaeonid background, a passion for horse-racing, and an interesting lisp, but as the play stands Pheidippides is never seen as having been in any way close to Socrates.1 Their relationship is in fact akin to one between the principal of a college and an individual first-year student, with no sinister overtones whatever. I doubt that the relationship with Alcibiades had by that stage been seen as in any way unusual; either its bizarre nature was a well-kept secret, or it was not seen as very unusual after all. Alcibiades had experienced the attentions of a host of would-be lovers, so what would have made Socrates special? (shrink)

The American University Publications In From its inception Philosophy has continued the direction stated in the sub-title of the initial volume that of probing new directions in philosophy. As the series has developed these probings of new directions have taken the two fold direction of exploring the relationships between the disparate traditions of twentieth century philosophy and with developing new insights into the foundations of some enduring philosophic problems. This present volume continues both of these directions. The interaction between twentieth-century (...) Anglo-Saxon and Continental philosophy which was an implicit theme of our first and third volumes and the explicit subject of our second volume is here continued in a series of studies on major figures and topics in each tradition. In the context of these interpretative studies, Professor Durfee returns again and again to the question of the relationships between the will and the reason, and explores the conflicting goals of creativity and objectivity in formulating a philosophic position. In so doing he raises the issue as his title suggests - of the foundations of philosophy itself. He seriously challenges the belief common to both pheomenology and analytic philosophy that philosophizing can be a presuppositionless activity, objectively persued independent of the personal (and, perhaps, arbitrary) commitments of the philosopher. This issue, critical as it is to all forms of philosophy, is surely a worthy one for a series such as ours. (shrink)

Kaplan suggests that these major figures works are linked by the myths of genesis of a new political culture.

Analyzes the development of art during the past decade paying special attention to the works of Mondrian, Arp, Newman, and Dubuffet.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This article proposed a hermeneutical analysis of the story “Embargo” by José Saramago, part of the book The lives of things, based on Paul Ricœur's proposal for textual understanding. To do this, the two basic hermeneutical movements that, according to the French philosopher, are part of this task, explain and interpret, are taken as a starting point. In this aspect, the explanation is assumed as the exercise of finding the meaning in the story and this aims to find the links (...) that exist between its constituent parts and the work as a whole. In turn, interpretation is understood as the process of updating and appropriation of the work by the reader, in such a way that it is possible for him to incorporate it into his life experience in the act of reading. Thus, the hermeneutical exercise was carried out by appealing to categories taken from narratology that allow the explanation: to reveal the internal relationships of the narrative structure, while at the same time arguing the hypothesis or interpretive horizon that is proposed for the story: the world of dreams as an alternative reality that confronts the dreamer with his wishes and hopes, but also with his fears and anguish of living. (shrink)