Many of today's ads work by arousing the viewer's emotions. Although emotion-arousing ads are widely used and are commonly thought to be effective, their careless use produces a side-effect: the psychoactive ad. A psychoactive ad is any emotion-arousing ad that can cause a meaningful, well-defined group of viewers to feel extremely anxious, to feel hostile toward others, or to feel a loss of self-esteem. We argue that, because some ill-conceived psychoactive ads can cause harm, ethical issues must arise during their (...) production. Current pretesting methods cannot identify the potentially psychoactive ads; therefore, we offer some tentative guidelines for reducing the number of viewers harmed by psychoactive ads. (shrink)

On the basis of a communicative theory of criminal punishment, I show how mercy has a significant but limited role to play in the criminal law—in particular (although not only) in criminal sentencing. Mercy involves an intrusion into the realm of criminal law of values and concerns that are not themselves part of the perspective of criminal law: a merciful sentencer acts beyond the limits of her legal role, on the basis of moral considerations that conflict with the demands of (...) penal justice. Sometimes, however (but in a decent system of law in a decent society, rarely), that is how citizens should act. Finally, I discuss, and criticise, two attempts to find a place for mercy within a communicative conception of punishment, and argue that repentance is not an appropriate ground for leniency or mercy in sentencing. (shrink)

This is a companion paper to my preceding one on Harriot's experimentations in the field of the sign-rule of multiplication in algebra. Cardano had earlier attacked the conventional rule in a chapter of his De Aliza regula liber, published in 1570 as an appendix to the second edition of his Ars magna. He returned to the subject in a brief tract, published nearly a century later in his collected works as Sermo de plus et minus. Only Cardano's valid contention that (...) the standard ‘proof’ of the accustomed sign-rule was faulty made impact, in the Euclidean background to which the ‘proof’ belonged. His cause was to preserve the purity of the Euclidean tradition. It overshadows the true aim in the De Aliza chapter, but the Sermo reveals it plainly as far from retrograde: he wished to retain all the new techniques of algebra that brought in not only ‘minus’ quantities but also their square roots, and to escape the ‘impossible’ status of these last. This the rebel sign-rule did for him by making every root of a ‘minus’ just another ‘minus’. (shrink)

The manuscripts of Harriot discussed in this paper are essentially rough notes marginal to his systematic treatment of algebra, of which a small part was published posthumously. The central theme is the sign-rule for multiplication; but the incidentals open up an aspect of symbolism in mathematics entirely new for the time. A more restricted aspect of the same theme was touched on by Commandino in his Euclid, quoted by Harriot as rightly blaming ‘those that thinke that minus per minus shal (...) produce plus’; Commandino's authority was Cardano, in a similarly marginal departure from his great Ars magna, the de Aliza, which Harriot also cites in the same reference. The ostensible motivation, to preserve intact the Euclidean tradition in geometry, plays a very minor role in Harriot's notes. The basic aim, to elude the fatal link with imaginaries, they do touch on. More dimly underlying the arguments are the crucial logical facets of the problem, which Harriot faced with a greater conceptual clarity, formulating in words, however, only his own conclusion: the choice of sign-rule is the user's—a fact not fully recognised by mathematicians generally until the 19th century. (shrink)

Emotion is conceptualised as an emergent, dynamic process based on an individual's subjective appraisal of significant events. It is argued that theoretical models of emotion need to propose an architecture that reflects the essential nature and functions of emotion as a psychobiological and cultural adaptation mechanism. One proposal for such a model and its underlying dynamic architecture, the component process model, is briefly sketched and compared with some of its major competitors. Recent empirical evidence in support of the model is (...) reviewed. Special emphasis is given to the dynamic aspect of emotion processes, in particular the sequence of appraisal checks and the synchronisation of response systems, as well as the capacity of the model to predict individual differences in emotional responding. (shrink)

What factors should be taken into account when attributing criminal responsibility to perpetrators of severe crimes? We discuss the Breivik case, and the considerations which led to holding Breivik accountable for his criminal acts. We put some pressure on the view that experiencing certain psychiatric symptoms or receiving a certain psychiatric diagnosis is sufficient to establish criminal insanity. We also argue that the presence of delusional beliefs, often regarded as a key factor in determining responsibility, is neither necessary nor sufficient (...) for criminal insanity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:R. D. Ackerman BELIEVING IN A FICTION: WALLACE STEVENS AT THE LIMITS OF PHENOMENOLOGY The "ring of men" of "Sunday Morning" will chant their "devotion to the sun, / Not as a god, but as a god might be, / Naked among them, like a savage source" (CP, pp. 69-70).' Solar nakedness is deferred even as it is named. The problem for belief is the question of appearance and (...) representation. Things appear as and like.... The phenomenological return to things is also a turn to fiction, as Husserl understood: "If anyone loves a paradox, he can really say... that the element which makes up the life of phenomenology... is fiction. ' " The sun is divine, and it is not; it is both naked and clothed, savage and civilized, source (or end) and means. But such paradox is ultimately unsatisfying, and as we will see with Stevens, the need for belief—for an image or idea of totality—forces the issue of fiction and reality. The Stevens we will have in view is not the Stevens—as if there were such a creature. Our Stevens is the one most persuaded by promises such as those of phenomenology, the one most concerned with decreation (reduction) and fresh beginnings, with discovery and recognition, with imagination, the body, and the earth. This is the Stevens for whom the barrier of language presages at last not absence and difference but fictive recovery of presence and identity, the one for whom poetry represents a way of belief beyond mysticism even as it bodes mythic proximity. Finally, this is the Stevens who predominates throughout the prose (as well as in much of the poetry), who tries mightily to secure a belief while disencumbering himself of metaphysics—but alas, I think, with small success. Although Stevens's association of the problem of belief with the idea of fiction occurs in early poems such as "A High-Toned Old Christian 79 80Philosophy and Literature Woman" and "To the One of Fictive Music," his most intensive involvement with fiction as belief dates from the early 1940s and spans the period of his major essays and his last four volumes of poems. He recounts, for instance, a 1942 conversation with a student: "I said that I thought that we had reached a point at which we could no longer really believe in anything unless we recognized that it was a fiction. The student said that that was an impossibility, that there was no such thing as believing in something that one knew was not true. It is obvious, however, that we are doing that all the time" (L, p. 430). What does it mean to believe in a fiction? That is my main subject here, as we seek out the limits of the phenomenological Stevens. His letters of this period are preoccupied with the problem of fictive belief: "If one no longer believes in God (as truth), it is not possible merely to disbelieve; it becomes necessary to believe in something else.... A good deal of my poetry recently has concerned an identity for that thing.... In one of the short poems that I have just sent to the harvard advocate, I say that one's final belief must be in a fiction. I think that the history of belief will show that it has always been in a fiction" (L, p. 370). The poem referred to, "Asides on the Oboe," begins: The prologues are over. It is a question now, Of final belief. So, say that final belief Must be in a fiction. It is time to choose. (CP, p. 250) Acknowledging that "in the long run, poetry would be the supreme fiction" (L, pp. 430-31), Stevens nonetheless singles out the nominative function of poetry as the essence of its claim to supremacy: "Poetry means not the language of poetry but the thing itself.... The subject matter is what comes to mind when one says of the month of August... 'Thou art not August, unless I make thee so'" (L, p. 377). The quoted line (also from "Asides") underscores the paradox that for Stevens the essence of fiction (the nontrue) is its capacity to nominate the true or the real. This... (shrink)

Arvind Thomas has written a remarkable book. That said, however, it must be quickly added that it is not a book for everyone, not even for all students of medieval literature. It is a very thoughtf...

We have considered a simple word game called the word-morph. After making our participants play a stipulated number of word-morph games, we have analyzed the experimental data. We have given a detailed analysis of the learning involved in solving this word game. We propose that people are inclined to learn landmarks when they are asked to navigate from a source to a destination. We note that these landmarks are nodes that have high closeness-centrality ranking.

This study investigated the multidimensional structure of judgements of emotional appropriateness, the degree to which an observer judges a target's emotion to conform to observer-valued expectations for emotion in that context. Participants (N=169) were shown one of two brief video clips of an actor either showing anger or neutral expressions in an anger-evoking situation of either low, medium, or high severity. Participants rated the target's emotion on the Perception of Emotion Appropriateness Rating Scale (PEARS), which taps observers’ perceptions of a (...) target's emotional appropriateness for a specific situation. We found that appropriateness ratings are comprised of three factors, assessment of Type Present (type of emotion in expression); Type Absent (missing key emotions); and Intensity (intensity with which the emotion is felt or expressed). Results are discussed in terms of the usefulness of a multidimensional conceptualisation of emotional appropriateness. (shrink)