Vague predicates, those that exhibit borderline cases, pose a persistent problem for philosophers and logicians. Although they are ubiquitous in natural language, when used in a logical context, vague predicates lead to contradiction. This paper will address a question that is intimately related to this problem. Given their inherent imprecision, why do vague predicates arise in the first place? I discuss a variation of the signaling game where the state space is treated as contiguous, i.e., endowed with a metric that (...) captures a similarity relation over states. This added structure is manifested in payoffs that reward approximate coordination between sender and receiver as well as perfect coordination. I evolve these games using a variation of Herrnstein reinforcement learning that better reflects the generalizing learning strategies real-world actors use in situations where states of the world are similar. In these simulations, signaling can develop very quickly, and the signals are vague in much the way ordinary language predicates are vague—they each exclusively apply to certain items, but for some transition period both signals apply to varying degrees. Moreover, I show that under certain parameter values, in particular when state spaces are large and time is limited, learning generalization of this sort yields strategies with higher payoffs than standard Herrnstein reinforcement learning. These models may then help explain why the phenomenon of vagueness arises in natural language: the learning strategies that allow actors to quickly and effectively develop signaling conventions in contiguous state spaces make it unavoidable. (shrink)

We are sympathetic with the broad aims of Perruchet & Vinter's “mentalistic” framework. But it is implausible to claim, as they do, that human cognition can be understood without recourse to unconsciously represented information. In our view, this strategy forsakes the only available mechanistic understanding of intelligent behaviour. Our purpose here is to plot a course midway between the classical unconscious and Perruchet &Vinter's own noncomputational associationism.

The Old Testament epigraphs used by Leo Strauss for his study Natural Right and History tend invariably to vex his readers. In the book itself and in other of his writings, Strauss explicitly states that the Old Testament tradition does not know ‘nature’ in the philosophical sense, and hence the concept of ‘natural right’ is unknown or alien to that tradition. Another, more obvious problem they present has been seemingly universally passed over by commentators: neither epigraph tells the reader anything (...) explicitly about right, natural or otherwise. One cannot claim them to contain lessons about right, because such lessons are not directly extractable from the epigraphs as they stand. Here I wish to argue that Strauss's choice of epigraph does two things: first, it points to the fact that Old Testament stories can be given a political reading, or used to illustrate political lessons. In implying this, Strauss is following Machiavelli, who is the most important figure in Natural Right and History. Second, the epigraphs point to the deeply problematic nature of the concept of natural right, primarily the equivocal nature of the term, a difficulty never made explicit by Strauss but the awareness of which permeates his study. (shrink)

Conservative ideology in its moderate form is inspired by opposition to belief in radical political and social change on the ground that it rests on several mistaken assumptions, of which the most important are that human nature is highly malleable; that human will can refashion history in whatever ways human ideals may require; that society is the artificial product of a contract between autonomous individuals; and that evil is an eliminable feature of human existence. The unifying theme of conservative ideology, (...) by contrast, is a defence of limited politics, although different schools of conservatism have theorized the concept of limit in ways that are incompatible and even incoherent. Of these, the four principal schools are the reactionary, the radical, the moderate, and, more recently, the New Right. This chapter examines the degree of coherence achieved by each of these schools of thought. (shrink)

When Demosthenes brought Aeschines to trial on a charge of malfeasance as an ambassador, he made what seems now the astonishing declaration in connection with Aeschines' acting of the part of Creon in Sophocles' Antigone: ⋯στε γ⋯ρ δ⋯που το⋯θ' ὅτι ⋯ν ἅπασι τοῖς δρ⋯μασι τοῖς τραγικοῖς ⋯ξα⋯ρετ⋯ν ⋯στιν ὥσπερ γ⋯ρας τοῖς τριταγωνισ ταῖς τὺ τοὺς τυρ⋯ννους κα⋯ τοὺς τ⋯ σκ⋯πτρ' ἔχοντας εἰσι⋯ναι. Until the last generation this was taken at face value as indicating that of the three actors presenting a (...) tragedy the third was regularly assigned the part of royalty. But that the title rôle in such plays as Sophocles' Oedipus Tyrannus or an important character such as Creon in the Antigone should have been entrusted to the third ranking actor is incredible. How is the discrepancy to be explained? (shrink)

David Hume has described his theory of causation as the ‘chief argument’ of his Treatise of Human Nature. The broad lines of that argument are well known, and need not be detailed here. Hume’s conclusion is that causation is not a ‘power’ in the cause but a ‘felt compulsion’ in the mind—an expectation that a certain event will be followed by a certain other event of the type habitually associated with the first in our experience. Both events are perceptions; the (...) first is an impression, the second a believed idea: and causation is the association of the two. Furthermore, Hume not only expresses his notion of causation in terms of the theory of impressions and ideas; he also argues to it by means o/this theory. (shrink)

Creativity of Ivan Vyshensky is one of the outstanding ideological and artistic phenomena of the end of XVI - beginning of XVII century. Closely linked to the events of the time, she witnessed the arrival in the Ukrainian spiritual culture of the artist, who put all her talent in defense of Ukrainian Orthodoxy. Although, to be more specific, Ivan Vyshensky's person would be more right to recognize the apologist of the foundations of ancient Ukrainian Orthodoxy, whose spokesmen strongly opposed the (...) measures connected with the preparation, proclamation and implementation of the Orthodox-Catholic Union in the territory of the Commonwealth. The problem, it is known, turned out to be so significant and complex that it divided the Ukrainian ethnic group at the time of its active national self-awareness into two denominationally opposing camps. In such circumstances, the "Russian faith" and the Orthodox Church as a whole became the subject of special affection, the most touching place, its national banner and slogan, "or, as A. Richinsky noted, signs of nationality. It is understandable that dignitaries, including church and religious ones, also had denominators of Orthodox Catholic unification. Therefore, the attempt to objectify the view of the need for church-religious union within the framework of the Commonwealth, as well as to improve the understanding of those initial principles, which were guided by Ivan Vyshensky, requires an expansion and deepening of thematic expositions. In this sense, the task of the proposed article we would like to reduce to a brief analysis of the polemical works of anti-union content of the late XVI - early XVII centuries, that is, the time when Ivan Vyshensky lived and created, and which in one way or another will help them to comprehend their congruence or contradiction artist's credo. (shrink)

This fully revised new edition re-establishes Paul Griffiths's survey as the definitive study of music since the Second World War. The disruptions of the war, and the struggles of the ensuing peace, were reflected in the music of the time: in Pierre Boulez's radical reforming of compositional technique and in John Cage's move into zen music, in Milton Babbitt's settling of the serial system and in Dmitry Shostakovich's unsettling symphonies, in Karlheinz Stockhausen's development of electronic music and in Luigi Nono's (...) pursuit of the universally human, in Iannis Xenakis's view of music as sounding mathematics and in Luciano Berio's consideration of it as language. The initiatives of these composers and their contemporaries opened prospects that have continued to unfold. This constant expansion of musical thinking since 1945 has left us with no single history of music. Paul Griffiths's study accordingly follows several different paths, showing how and why they converge and diverge. In addition to the composers mentioned above, others whose music is discussed include Steve Reich, Jean Barraque, Elliott Carter, Olivier Messiaen, Gyorgy Kurtag, Harrison Birtwistle, and Gyorgy Ligeti. Publication and recording details are given for the works of all these composers and many others. (shrink)