Object of this reply. A chap like myself, who struggles along with an amateur's box of logical tools, is bound to feel uneasy when his arguments are probed by the kind of logical precision-instruments which Professor Hempel manipulates so effortlessly. Yet after painstakingly working over his technical arguments, and after appealing for expert assistance on matters outside my competence,1 I have reached the surprising and agreeable conclusion that my argument stands intact and that Professor Hempel's criticisms reveal once more the (...) hopelessness of the position he defends—or rather, of the position he now defends. (shrink)

"Contemporary Mind - Some Modern Answers" is a fantastic collection of essays by English science writer John W. Sullivan. They deal with a range of subjects, ranging from mysticism and immortality to the relationship between science and art. John William Navin Sullivan (1886 - 1937) was a literary journalist and popular science writer most famous for his study of Beethoven. He is also responsible for having written some of the earliest non-technical accounts of Einstein's General Theory of Relativity, and he (...) was acquainted with many important writers in London in the 1920s, including John Middleton Murry, Aldous Huxley, Wyndham Lewis, Aleister Crowley and T. S. Eliot. Other notable works by this author include "Aspects of Science" (1923), "Aspects of Science: Second Series" (1926), and An Outline of Modern Knowledge (1931). Contents include: "The Balanced Life," "The Problem of Suffering," "The Necessity of Mysticism," "Human Immortality," "A Dissertation on Beethoven," "The Scientific Outlook," "A Dissertation on Maxwell," "New Principles," "A Dissertation on Newton," "Science and Art," "Mathematics and Culture," "Sir Josiah Stamp," "Mr. Aldous Huxley," etc. Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with the original text and artwork. (shrink)

To what extent is time similar to space? in this paper it is shown that the claim, Made by richard taylor among others, That time and space are "radically alike" is unfounded. This claim can be supported only by employing the notion of temporal parts. It is shown that if objects are regarded as having temporal parts as well as spatial parts, Then serious disanalogies exist between time and space. Furthermore, If objects are said to have temporal parts, Then it (...) must also be held that time is in a very important sense "prior" to space and this that time and space are not only unlike in certain respects but indeed are radically dissimilar. Moreover, The so-Called "manifold theory of time" necessarily makes use of the notion of temporal parts and therefore should hold that time and space are quite unlike. But since an important part of the manifold theory of time is the claim that time and space are very much alike, This theory is to that extent not satisfactory. (shrink)

For over a century and certainly since single-unit recordings in the 1960s the theory of perception that has dominated thinking and research, with implications for the understanding of all other cognitive domains, entails a neocortical process of progressive assembly from V-1 to V-4 leading to object-construction and secondary spatial updating and recognition. In recent years, however, difficulties with the theory have emerged in neurophysiological research though a compelling alternative has not been forcefully argued. It is the purpose of this paper (...) to review the main features of the microgenetic account of perception, which inverts standard theory 180 degrees, and aligns the perceptual process with patterns of evolutionary growth. This theory developed on clinical study, and perhaps for this reason has not received sufficient attention, in mainstream cognitive and affective neuroscience, though it provides an account not only of perception but of stages in memory, imagery, the present moment, and the mind/brain state. (shrink)