Medium- and high-spin states of Pr-134 were populated using the Cd-116(Na-23, 5n) reaction and studied with the GAMMASPHERE spectrometer. Several new bands have been found in this nucleus, one of them being linked to the previously observed chiral-candidate twin-band structure. The ground state of Pr-134 could be determined through establishing a level structure that connects the two previously known long-lived isomeric states. Unambiguous spin-parity assignments for the excited states could be performed based on the known 2(-) spin-parity of the (...) ground state combined with the present experimental data. Intrinsic single-particle configurations have been assigned to the newly observed bands on the basis of the measured B(M1)/B(E2) ratios, alignments, band-crossing frequencies, bandhead spins, the observed single-particle configurations in the neighboring nuclei, and taking into account the predictions of total Routhian surface and tilted-axis cranking calculations. (shrink)

In this paper, Christian Morgner provides a critical reading of Niklas Luhmann's thinking as ignoring human beings or even as antihumanist. Here, he presents an alternative view that centers on Luhmann's idea of the child or human being as a medium. To explain Luhmann's use of these ideas to conceptualize the child and the consequences for research, Morgner refers to the translation of Luhmann's paper “The Child as the Medium of Education” and to as yet unpublished material from (...) his famous card-box reference system. Drawing on these materials, Morgner can more clearly illuminate Luhmann's novel perspective and how it could inform further theoretical development, supported by new analysis of existing research in other fields, including developmental psychology, education, philosophy, and sociology. He concludes that, far from neglecting the human, Luhmann's theory takes human being very seriously and acknowledges its key role as a form-giving medium in addressing the challenges faced by contemporary society. This renewed perspective should be of particular interest to educational theorists, enabling them to more freely apply his ideas in various settings. (shrink)

The Visible Medium. Opaque Interface and Non-Mimetic Immersivity -/- The relation of reciprocal co-implication that Merleau-Ponty formulates—and on which he insists throughout his work—between sense and the sensible, perception and expression, and then visible and invisible, transforms the way in which one conceives of the medium. Merleau-Ponty’s aesthetics reveals an idea of the medium as a support that erases itself in the act of conveying the signifi cation and also shakes the direct correlation between transparency and mimetic (...) simulation. Understood as the sensible thickness of the body opening onto the world, then as depth and écart that catalyzes vision, the medium, then, furnishes one of the defi nitions of fl esh, as the element of auto-mediation: connective tissue or fabric of communication that is at once écart and internal difference. Merleau-Ponty conceives of the medium as both that which renders and that which is rendered visible. It is therefore no longer an intermediary; it ceases to be an invisible mediator and becomes the opaque element that reveals in fi ligree the movement of gestaltic difference. It is from such a Merleau-Pontian conception of medium that one can begin to elaborate the complex issues posed by mediality in the post-medial age. The idea of a “visible medium” permits us to break with the confl ation of the simulation’s immersive effect and performance, which often informs the rhetoric concerning medias and new technologies, in order rather to think of an “opaque interface” or an “non-mimetic immersivity.” From such a conception of mediality we can equally understand the phenomenon of numerical convergence, not as the accomplishment of the suppression or dematerialization of the medium, as is the case with traditional theories, but as the point of departure for a return to the body as the condition of possibility for every aesthetic experience. (shrink)

Even though The Medium Place is overshadowed by the dramatic events that unfold in the fake Good Place neighborhood, it is more significant to The Good Place. The Medium Place is described as an individually tailored “eternal mediocrity,” a place of neutrality and compromise. One of the most prominent contemporary cultural theorists, Homi K. Bhabha, calls this space of becoming, where contradictions and differences are explored rather than resolved, a “Third Space”. Bhabha claims that despite its importance, being (...) “in‐between” is usually “unrepresentable,” and Roland Barthes too refers to his idea of the “third possibility” as having “no place” of its own. But the writers of The Good Place have proved them wrong—they have found a way to represent this middle “in‐between” space it as a geographical neighborhood. The morality of The Medium Place is the most human and realistic of all The Good Place neighborhoods. (shrink)

This chapter critically explores the notion of medium specificity both in its classical form, as represented by figures such as Rudolf Arnheim and André Bazin, and in its current revised versions as proposed by philosophers such as Berys Gaut, Dominic Lopes, and Ted Nannicelli. The thesis of this entry is that the idea of medium specificity is flawed in all of its variations.

The notion of a distinct 'executive power' was famously employed by Locke and Montesquieu; but the term potestas executiva, coined by medieval canonists, had been adopted by the early sixteenth-century theologian Cajetan, who located it as regimen medium in his defence of papal power against a revived 'conciliarist' challenge. The distinction between legislative sovereignty and a power effectively executive was used in post- Reformation political controversy and in Bodin's République. From those beginnings it was developed by mid-seventeenth-century writers, from (...) whom it passed to Locke; and the concept of the executive as a 'mediating' power was notably echoed by Rousseau. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 224 Seiten: 269-293.

Mangan’s hypothesis, that consciousness is an information-bearing medium, presents an alternative to Dennett’s brand of functionalism, and Dennett’s counterattacks have yet to address Mangan’s main assertion. The medium hypothesis does not entail Cartesian theater assumptions concerning the localization, causal status, and “filling in” of consciousness in the brain. In principle, it is compatible with distributed information transfer between different media, epiphenomenalism, and gaps in visual experience. However, Mangan’s strongest empirical argument, based on consciousness’ limited “bandwidth,” does not necessarily (...) show that transduction between media of different information-bearing capacities occurs between the brain and consciousness. The features of consciousness that he attributes to a lower bandwidth medium can be explained in terms of functional constraints on a single medium. Furthermore, empirical results showing gaps and anomalies in visual experience speak against consciousness being a medium. (shrink)

The computational properties of a system are generally thought to be independent in some sense from its physical properties, in virtue of the fact that computation is a formally characterized concept. Several philosophers have recently challenged the idea that such “medium-independence” is an essential feature of computation by arguing that some kinds of computation lack medium-independence. This paper explores and rejects three such arguments in an attempt to defend the essential medium-independence of computation.

e medium and the revolution exclude each other, insofar as two kinds of violence, restlessly ghting for domination, collide. e ght is a ght for the ght itself. e violence of the medium can namely suppress the ght the revolution needs. e violence of this suppression of violence, the violence of nonviolence produces the psycho-somatic state of depression. In this depression the body is drawn together, onto itself. It does not experience anything anymore. e violence of »the ancient« (...) directs itself therefore only towards itself alone. us the immediate and its origin are veiled. e medium excludes them. e origin cannot return, it remains in absence. e violence of the revolution cannot awaken anymore. e absence of the revolution is the absent origin itself. (shrink)

Inquiries into the medium of education take up a question that has so far usually been answered teleologically or psychologically. The coherence of educational endeavors has been illustrated by their objective, and this again has been illustrated by the changes in the state of the educatees. The difficulty of such an approach is that no educator is able to know the inner state of the educatee, i.e., that which the latter really experiences, remembers, and expects during the process of (...) education. Moreover, the drawback of all teleology is that it does not provide a concept for understanding the frequent failure of these efforts. Here, Niklas Luhmann demonstrates that this kind of teleological theory can be replaced by the distinction between medium and form. (shrink)

What begins with an unlikely collection of unrelated phenomena--mechanical dolls, weather, atoms, lyric poetry--blossoms in the course of _Toy Medium_ into a subtle and persuasive meditation on one of Western philosophy's biggest puzzles: the relation of mind and matter. What is the role of the imagination in defining material substance? In a dazzling study of the poetics of materialist philosophy and of the materialism of lyric poetry, Daniel Tiffany traces the historical conjunction of matter and metaphor through a remarkable range (...) of topics: automata in classical antiquity and the eighteenth century; Kepler's treatise on snowflakes; animal magnetism; fireworks and cloud-chamber photographs; the origins of the microscope as a philosophical toy and its bearing on the figure of the virtuoso. At critical junctures in modern Western culture, Tiffany finds uncanny parallels between the metaphorics of science and visions of material substance rooted in popular culture and lyric poetry. _Los Angeles Times Best Nonfiction Book of 2000_. (shrink)

In this paper, for the benefit of reflection processes in clinical and in local, regional, and national priority-setting, we aim to develop an ethical theoretical framework that includes both ethical principles and medium-range narratives. We present our suggestion in the particular case of having to choose between treatment interventions for attention deficit hyperactivity disorder (ADHD) and treatment interventions for other conditions or diseases, under circumstances of scarcity. In order to arrive at our model, we compare two distinct ethical approaches: (...) a generalist (principles) approach and a particularist (narratives) approach. Our focus is on Sweden, because in Sweden prioritization in healthcare is uniquely governmentally regulated by the “ethics platform.” We will present a (fictional) scenario to analyse the strengths and weaknesses of the generalist principled perspective of the ethics platform and the particularist perspective of narrative ethics. We will suggest an alternative (moderately particularist) approach to prioritization, which we dub a “principles plus medium-range narratives” approach. Notwithstanding the undeniably central role of principles in distributive justice, we claim that medium-range narratives concerning individuals or groups who stand to benefit or lose from ADHD prioritization practices should also be read or listened to and taken into account at all levels of priority-setting. These narratives are expected to ethically optimize clinical priority-setting, as well as that undertaken at local, regional, and national levels. (shrink)

In industries populated by small and medium enterprises, managers' good intentions frequently incur barriers to superior environmental performance (Tilley, Bus Strategy Environ 8:238-248, 1999). During the period when the U.S. wine industry was beginning to promote voluntary adoption of sound environmental practices, we examined managers' attitudes, norms, and perceptions of stakeholder pressures to assess their intentions to implement environmental management programs (EMP). We found that managers within the simple structures of these small and medium firms are responsive to (...) attitudes, norms, and pressures from internal stakeholders and that voluntarily established EMP increased the success of firms' implementation of energy conservation and recycling practices. Applications of our findings to future research on small and medium enterprises as well as direct practical applications of our results are discussed. (shrink)

The term “medium independence” has different meanings. One sense maps onto “abstract-as-abstracta” descriptions while the other maps onto “abstract-as-omission” descriptions. Both senses have been deployed when it comes to understanding the nature of physical computation. However, because medium independence is a polysemic term, the sense being used should be clearly stated. If the sense is not clearly stated, then those who wish to engage in debates regarding medium independence and physical computation run the risk of conflating different (...) but related issues which can have consequences when it comes to thinking about physical computation across contexts. (shrink)

I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive (...) medium, for which reason I call this kind of content medium content (or medium-related content). (shrink)

Resumo Neste artigo, tentar-se-á reconstruir e defender a noção de “especificidade média” que se refere ao cinema. Começar-se-á por discutir a ontologia de um certo tipo de exibição visual, geralmente encontrada em conexão com uma vasta gama de obras cinematográficas. Argumentar-se-á que estas exibições têm uma natureza essencial ou real. Obras construídas em torno de tais exibições estão aptas a manifestar certas qualidades e poderes peculiares. Assim, o “meio de cinema” consiste em parte, num tipo particular de meio veicular e, (...) de várias propriedades nem sempre manifestas distintas dele. Ao discutir-se o conceito de “meio”, considera-se também um sentido em que esta noção é negligenciada, a saber, que as competências e habilidades pessoais operam uma mediação entre a concepção de uma exibição e a sua produção. Prosseguir-se-á, argumentando, que apesar dos defeitos da “especificidade média”, proveniente de uma versão da teoria clássica do cinema, o cinema como uma forma de arte ou corpo de obras de arte, é ou tem um “meio especial” dotado de distintas propriedades artísticas. Palavras-chave : essencialismo, medium specificity, medium, obra, ontologia do cinema, valor artísticoIn this paper, I try to reconstruct and defend the notion of medium specificity as it relates to cinema. I begin by discussing the ontology of a certain kind of visual display commonly found in connection with a vast range of candidate cinematic works. These displays, I argue, have an essential or real nature. Works constructed around such displays are apt to manifest certain qualities and powers peculiar to displays of that kind. Thus cinema’s medium consists in part of a particular type of vehicular medium and various not always manifested properties distinctive to it. In discussing the concept of medium, I also consider a neglected sense of this term, namely, personal abilities and skills that mediate between one’s designing a certain display and one’s producing a matching object or result. I go on to argue that, despite the defects of classic film theory’s version of medium specificity, it is true that cinema, as artform or body of artworks, is or has a special medium endowed with distinctive artistic properties. Keywords : artistic value, essentialism, medium specificity, medium, ontology of cinema, work. (shrink)

Durch die ANT sind zwei Forschungsfelder umrissen: Medien der Agentschaft und Agenturen der Medien, die in ihrer Verschränkung den Ansatzpunkt einer Akteur-Medien-Theorie (AMT) bilden. Da derzeit in einer Reihe von Analysen die Dreifachrolle der Medien als intermediary, mediator und device untersucht wird, schlägt der Aufsatz vor, den verfahrenstechnischen Begriff des Hilfsmediums für die AMT anzuwenden. Durch die hilfsmediale Ein-/Zuschreibung von Medien und Werkzeugen soll deutlich werden, dass man nicht vorab festlegen kann, wo man die Medien in einer Handlungsverknüpfung findet, und (...) dass der Anteil der Medien an der Verkettung von Handlungsinitiativen nicht fixiert ist. Gleichwohl ist ein modicum der Medien notwendig. outlines two fields of research: and, which in their entanglement form the starting point of an actor-media theory (AMT). Since the triple role of media – as, and – is currently being studied in a series of analyses, this paper suggests to introduce the procedural concept of the auxiliary medium to AMT. By the auxiliary in- and adscription of media and tools it should become clear that one cannot determine in advance where to find in the complex of an action, and that the media's part in the concatenation of action initiatives is not fixed. In any case, a of media is necessary. (shrink)

루만에게 사회적 체계들은 커뮤니케이션의 체계들이다. 매체/형식의 구별은 체계의 폐쇄성과 개방성이라는 역설을 커뮤니케이션의 관점에서 나타낸다. 매체는 요소들의 느슨한 결합에 의한 비결정적 상태이므로 그 자체는 커뮤니케이션의 비개연성을 나타낼 뿐이다. 따라서 커뮤니케이션의 비개연성을 개연성으로 전환하기 위해서는 느슨한 결합을 단단한 결합으로 엮어주는 형식이 불가피하다. 형식은 체계와 마찬가지로 내부(체계)와 외부(환경)를 구별하는 엄격한 질서다. 그러나 커뮤니케이션의 체계가 지속적으로 유지되기 위해서는 형식의 변화 혹은 새로운 형식의 출현이 불가피하다. 이렇듯 매체는 형식을 통하여 커뮤니케이션의 개연성의 확립에 기여하지만, 여전히 제거되지 않은 비개연성을 통해서 형식의 변화를 촉진한다. 비개연적 개연성이라는 역설적 상황은 (...) 그가 들고 있는 세 가지 매체, 즉 언어, 확산매체, 성공매체에 모두 적용된다. (shrink)

Résumé On aimerait voir un miroir dans Contact de Markus Raetz, mais il s’agit d’une photographie dans une photographie. En montrant comment l’artiste parvient à tirer profit de l’ambiguïté perceptive entre reflet et photographie, c’est-à-dire entre différents médiums, ce texte essaie de clarifier la complexité des niveaux de représentation mis en jeu.

The digitalized urban environment is explored in the paper as a medium with several overlapping and inter-weaving spatial layers. The author suggests that it has grown increasingly complex in the multi-spaced and multiply scaled cybercities for people to share in public space. Moreover, the challenges of public living in contemporary urban settings emerge most intensely at the points of intersection of the invisible technostruc-ture and the media saturated phenomenality of the city. At these intersections, one ethically and politically burning (...) issue is how people through their ICT-related activities contribute to the =automatic produc-tion of space‘. More specifically, critical attention should be paid to people‘s active, but not necessarily self-reflexive, participation in the consolidation of the =technological unconscious‘ that conditions their own public agency. (shrink)

Current orthodoxy takes representation to be essential to computation. However, a philosophical account of computation that does not appeal to representation would be useful, given the difficulties involved in successfully theorizing representation. Piccinini's recent mechanistic account of computation proposes to do just that: it couches computation in terms of what certain mechanisms do without requiring the manipulation or processing of representations whatsoever (Piccinini 2015). Most crucially, mechanisms must process medium-independent vehicles. There are two ways to understand what "medium-independence" (...) means on this account; however, on either understanding, the account fails. Either too many things end up being counted as computational, or purportedly natural computations (e.g., neural computations) cannot be counted at all. In the end, illustrating this failure sheds some light on the way to revise the orthodoxy in the hope of a better account of computation. (shrink)

The paper analyses empirical research results comparing the impact of the medium (traditional, paper-based vs. screen-based) on the reading process and text comprehension. It focuses on two analytical approaches—the first looks at the construction of cognitive maps of texts and the other the material aspects of the medium – which enable readers to orientate themselves and to explore and interpret the text more comprehensively. The paper discusses differences in how readers approach textual meaning according to experience of using (...) digital technologies, the text, and reader experience and abilities. It concludes by arguing that strengthening these individual experiences and abilities is key to effective inference of textual meaning. (shrink)

In the eighteenth and nineteenth centuries, mediatization was understood as a condition through which a person lost his or her agency. A person mediatized was a person deprived of his sovereign power to act. This understanding is perhaps more pertinent today than ever in describing the way humans are, in a manner, mediatized by their own technological constructs. In a McLuhanesque sense, if we place too much influence on the understanding of the message, we do not understand the medium. (...) In doing that, we become blind to the environments in and through which we must act, for better or worse. The article is a discussion on the conditions of techno-scientific development and their effects on the human condition. (shrink)

Среди неоднозначностей, наблюдаемых в высказываниях о пропозициональных установках, некоторые связаны с возможностью понять то или иное слово в общепринятом значении или же в идиолекте носителя установки, которую передает высказывание. Хотя этот факт известен уже около двух десятилетий, первой работой, где на этом в известной мере основана вся теория интерпретации высказываний об установках, можно назвать недавнюю статью [Tancredi, Sharvit, 2022]. Значительная гибкость ее формального аппарата обусловлена тем, что выражающее установку придаточное рассматривается как еще не проинтерпретированный языковой объект, так что его интерпретация (...) в высказывании об установке может отличаться от его интерпретации в качестве отдельного высказывания и денотативно (в мирах, совместимых с содержанием установки, у входящих в него выражений могут быть не те же денотаты, что в реальном мире), и сигнификативно (в отношении смыслов, или толкований, этих выражений). Настоящая статья, помимо исторического очерка (§1) и краткого представления идей К. Танкреди и Я. Шарвит (§2), критикует такие аспекты их теории, как отсутствие в ней возможности прямо отсылать к возможным мирам (§3) и нужда в синтаксическом передвижении для предсказания невозможности некоторых интерпретаций (§4). С другой стороны, мы показываем, как подобная теория, разделяющая сигнификативный и денотативный аспекты интерпретации, позволяет развить представление о шкалах, связанных с высказываниями об установках, и, соответственно, о порождаемых ими скалярных импликатурах (§5). (shrink)

How do we challenge the structures of late capitalism if all possible media through which to do do is inescapably capitalist? This urgent political question is at the heart of Peter Trawny's major new work. With searing precision Trawny demonstrates how our world has become wholly determined by technology, capital, and the medium. In this world of the 'TCM', we universal subjects remain in a state of apathy that is temporarily punctuated, but also reinforced, by the phantasmatic dream of (...) difference offered us by the 'Hollywood machine.' Our sole motivation is to gain money and the power it brings. The only meaningful difference in the world of the TCM universal is the difference between wealth and poverty. Freedom here is then the freedom to dispose of things (particularly technological objects) and to gain pleasure. It makes our relation to our surroundings essentially 'touristic,' and our relation to the earth an essentially exploitative one. The notion of personal or societal freedom has never been more controversial or, seemingly, more far from our grasp. While exploring in details the difficulties we face in our attempts to be free, Trawny builds an almost Utopian vision of how to break out of the mediums in which we operate and experience a new kind of freedom – both one of intimacy, and one through philosophy. An ambitious and lively yet completely rigorous work, this book offers a fascinating vision of how to live and live well. (shrink)

It has been claimed that a great deal of AI research is an attempt to discover the empirical laws describing a new type of entity in the world—the artificial computing system. I call this enterprise 'medium AI', since it is in some respects stronger than Searle's 'weak AI', and in other respects weaker than 'strong AI'. Bruce Buchanan, among others, conceives of medium AI as an empirical science entirely on a par with psychology or chemistry. I argue that (...) medium AI is not an empirical science at all. Depending on how artificial computing systems are categorized, it is either an a priori science like mathematics, or a branch of engineering. (shrink)

Dans le fragment sur la musique, Max Weber réduit l'objet musical empiriquement descriptible au « médium technique » utilisé par chaque culture, dans la mesure où son analyse reste hétérogène aux valorisations esthétiques. Weber souligne que la reproduction phonographique du son constitue la condition de possibilité d'une analyse empirique du matériau musical, le point de départ d'une musicologie comparée moderne. Approche empirique et comparaison culturelle apparaissent ainsi reliées dans un chiasme « empirico-transcendental » qui fait du médium technique à la (...) fois un objet et un a priori. L'article explicite ce choix méthodologique et ses conséquences pour une sociologie comparative de l'art. (shrink)

The concepts of embodiment and medium lie at the core of Arthur Danto's philosophy. As Danto underlines in Connections to the World, one speaks of embodiment when describing a state in which two objects with different properties constitute a single object, as the mind and body together constitute the human being. Humans are basically entes rapresentantes as their representative ability, their ability to process thoughts and incorporate them in language and, ultimately, their willingness to produce and enjoy art, are (...) key elements to their nature. The chapter explores, drawing on Danto's account of embodiment, how some of the properties that are attributed to a representation depend on how it is embodied. Danto deals with the visual arts in a particular way, although he always believed that his philosophy of art was essentialist and universally applicable to any form of art. (shrink)

People have always wondered how thinking takes place and what thoughts are constructed from. We typically experience our thoughts as involving pictorial (or sensory) contents or as being in words. Although this idea has been enshrined in psychology as the “dual code” theory of reasoning and memory, serious questions have been raised concerning this view. It appears that whatever the form of our thoughts it is unlikely that it is anything like our experience of them. But if thought is not (...) in pictures or words, what form does it take? If we do not sometimes think in words, then what actually goes on when we think by engaging in an “inner dialogue”? And if we do not sometimes think in pictures, what goes on when we reason by creating and examining “mental images”? (shrink)

Medium specificity is a theory, or rather a cluster of arguments, in aesthetics that rests on the idea that media are the physical material that makes up artworks, and that this material contains specific and unique features capable of 1) differentiating media from one another, and 2) determining the aesthetic potential and goals of each medium. As such, medium specificity is essential for aestheticians interested in matters of aesthetic ontology and value. However, as Noël Carroll has vehemently (...) and convincingly argued, the theory of medium specificity is inherently flawed and its many applications in art history ill-motivated. Famously, he concluded that we should ‘forget the medium’ entirely. In this thesis, I reject his conclusion and argue that reconstructing a theory of medium specificity, while taking Carroll’s objections into account, is possible. To do so, I offer a reconceptualization of the main theoretical components of medium specificity and ground this new theory in empirical research. I first redefine the medium not as the physical material that makes up artworks but as sets of practices – not the material itself but how one uses the material. I then show that what makes media specific and unique is not certain physical features, but the human responses, which can be empirically investigated, to the combination of practices that constitute media. This relation is one of response-dependence, albeit of a novel kind, which I develop by appealing to social metaphysics. The resulting theory is more complex but also much more flexible and fine-grained than the original and provides insight into a variety of current aesthetic theories. (shrink)

We add one point to Suddendorf & Corballis's (S&C's) story of mental time travel: For the future success of this hot, new area of research, it is imperative to pay attention to the fundamental distinction between the general brain/mind capacity that makes possible conscious awareness of the past and the future (the ), on the one hand, and specific expressions of this capacity in a large variety of future-related mental activities (the ), on the other.

This longitudinal study investigated how different mediums of word explanation affected the use of English vocabulary strategies among Chinese Grade-7 students. 170 students were tested on their English receptive vocabulary size and vocabulary strategy application before and after an 8.33-month intervention. Students were divided into three experimental groups and one control group. The three experimental groups were provided with learning materials that explained the target vocabulary in three mediums, respectively: English-only, English-and-Chinese, and Chinese-only. Results showed that, after the intervention, receptive (...) vocabulary size did not have any direct significant impact on vocabulary strategy development, whereas mediums of word explanation materials impacted students’ application of vocabulary learning strategies (VLS) in different ways. Our findings showed that the English-only mediums significantly enhanced students’ use of metacognition, cognition, and memorization strategies, but decreased social strategy development. Chinese-only mediums significantly facilitated cognition and memorization strategy development. Implications for L2 vocabulary education are discussed. (shrink)

This paper brings the analysis of epistemic injustices and the perspective of media philosophy into dialogue by proposing the new concept of medial epistemic injustice. After introducing the topic, the contribution confronts some metaphilosophical stances in light of the recent medial turn in order to suggest that, despite all their controversies, philosophers seem to agree that doing philosophy uniquely involves writing texts. This discussion sets the stage for the claim that institutionally sanctioned philosophy manifests a mono-genreism that only admits one (...) particular kind of written text and a mono-medialism that excludes all media other than writing. Next, the relationship between non-verbal media and philosophy is examined more closely on two levels. First, it is emphasized how academic philosophy leaves no room for corporeal thinking and visual thinking; second, it is illustrated how this may harm some individuals, using the example of deaf people and visually oriented autistic people. The conclusion proposes a provocative Gestalt-switch: What if current “angelic” philosophical knowledge were itself atypical, exhibiting the traits of an aphantasic mind? (shrink)

In 1792 Dugald Stewart published Elements of the philosophy of the human mind. In its section on abstraction he declared himself to be a nominalist. Although a few scholars have made brief reference to this position, no sustained attention has been given to the central role that it played within Stewart’s early philosophy of mind. It is therefore the purpose of this essay to unpack Stewart’s nominalism and the intellectual context that fostered it. In the first three sections I aver (...) that his nominalism emanated from his belief that objects of the mind—qualities, ideas and words—were signs that bore no necessary relation to the external objects that they were meant to represent. More specifically, it was these signs that were arranged into systems of thought by the ‘operations of the mind’. The next three sections suggest that his treatment of words as signs most probably originated in his views on language and medicine and that his nominalistic philosophy of mind could also be extended to systems that sought to classify the natural world. I conclude by suggesting several avenues of enquiry that could be pursued by future scholars interested in excavating Stewart’s thought. (shrink)

Digital artifacts from iPads to databases pervade our lives, and the design decisions that shape them affect how we think, act, communicate, and understand the world. But the pace of change has been so rapid that technical innovation is outstripping design. Interactors are often mystified and frustrated by their enticing but confusing new devices; meanwhile, product design teams struggle to articulate shared and enduring design goals. With Inventing the Medium, Janet Murray provides a unified vocabulary and a common methodology (...) for the design of digital objects and environments. It will be an essential guide for both students and practitioners in this evolving field. Murray explains that innovative interaction designers should think of all objects made with bits--whether games or Web pages, robots or the latest killer apps--as belonging to a single new medium: the digital medium. Designers can speed the process of useful and lasting innovation by focusing on the collective cultural task of inventing this new medium. Exploring strategies for maximizing the expressive power of digital artifacts, Murray identifies and examines four representational affordances of digital environments that provide the core palette for designers across applications: computational procedures, user participation, navigable space, and encyclopedic capacity. Each chapter includes a set of Design Explorations--creative exercises for students and thought experiments for practitioners--that allow readers to apply the ideas in the chapter to particular design problems. Inventing the Medium also provides more than 200 illustrations of specific design strategies drawn from multiple genres and platforms and a glossary of design concepts. (shrink)

Pioneers in psychology discovered, then repudiated, the traumatic origins of dissociation. Recent scientific research is showing how genetic predisposition plus trauma cause dissociation along with observable changes in the brain. EEG and PET scans have demonstrated that distinct neural networks lie at the base of dissociative states, with differences as striking as blindness vs. sight. Research is pointing as well to the role of the right hemisphere in developing a core sense of self through the mother-infant bond and dividing it (...) in response to childhood trauma and later stressors. Analysts from the nineteenth through the twenty-first century have witnessed frequent paranormal claims, such as telepathy, in mediums and dissociative patients, and wondered at the knowledge they displayed. This paper reports case studies of an empathic therapeutic matrix where unconscious transfers of information occurred with surprising revelations and imaginative constructs that both healed the patient and changed the therapist's own beliefs. (shrink)

Teaching philosophy is doing philosophy. This medium gets students doing it from day it.