Throughout the biological and biomedical sciences there is a growing need for, prescriptive ‘minimum information’ (MI) checklists specifying the key information to include when reporting experimental results are beginning to find favor with experimentalists, analysts, publishers and funders alike. Such checklists aim to ensure that methods, data, analyses and results are described to a level sufficient to support the unambiguous interpretation, sophisticated search, reanalysis and experimental corroboration and reuse of data sets, facilitating the extraction of maximum value from data sets (...) them. However, such ‘minimum information’ MI checklists are usually developed independently by groups working within representatives of particular biologically- or technologically-delineated domains. Consequently, an overview of the full range of checklists can be difficult to establish without intensive searching, and even tracking thetheir individual evolution of single checklists may be a non-trivial exercise. Checklists are also inevitably partially redundant when measured one against another, and where they overlap is far from straightforward. Furthermore, conflicts in scope and arbitrary decisions on wording and sub-structuring make integration difficult. This presents inhibit their use in combination. Overall, these issues present significant difficulties for the users of checklists, especially those in areas such as systems biology, who routinely combine information from multiple biological domains and technology platforms. To address all of the above, we present MIBBI (Minimum Information for Biological and Biomedical Investigations); a web-based communal resource for such checklists, designed to act as a ‘one-stop shop’ for those exploring the range of extant checklist projects, and to foster collaborative, integrative development and ultimately promote gradual integration of checklists. (shrink)

In 1839 and 1840, Newman preached four Oxford University Sermons, which critiqued the evidential apologetics advocated by John Locke (1632-1704) and William Paley (1743-1805) and subsequently restated by Richard Whately (1787-1863). In response, Newman drew upon Whately’s earlier works on logic and rhetoric to develop an alternative account of the reasonableness of religious belief that was based on implicit reasoning from antecedent probabilities. Newman’s argument was a creative response to Whately’s contention that evidential reasoning is the only safeguard against (...) superstition and infidelity. (shrink)

The most notable development in public sculpture of the last thirty years has been the disappearance of the sculpture itself. Ever since Jean Tinguely’s Homage to New York destroyed itself at the Museum of Modern Art in 1960, sculptors have tried to find new ways to make the sculptural object invisible, immaterial, or remote. Where the sculpture did have some material presence, it often took unexpected forms. As Rosalind Krauss says, “Rather surprising things have come to be called sculpture: narrow (...) corridors with TV monitors at the ends; large photographs documenting country hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert.”However various these experiments may seem, they began with a single motive: to escape the constraints of the pedestal, the gallery, and finally of art itself. To prevent this new work from becoming just another commodity in the market, artists either produced works so intangible or remote they could not be bought and sold, or disseminated their ideas in so many reproducible forms they could not be monopolized. The political nature of these motives also meant that much of this “sculpture” could be considered “public.” Changing the nature of the art meant changing the role of the audience as well, questioning the purely contemplative role the observer plays in the conventional setting of the museum or gallery. According to Henry Sayre, “As the avant-garde work of art denies its own autonomy, it implicates the audience in its workings.”3 As the aesthetic focus shifts from the object to the experience it provokes, the relationship of the two goes beyond mere implication: the public becomes the sculpture. Artists, like Richard Serra, whose goal is to illuminate the material nature of space and the often tenuous materiality of the observer’s own body, have made “the viewer, in effect, the subject of the work,” to quote Douglas Crimp. Michael North is associate professor of English at the University of California, Los Angeles. He is the author of The Final Sculpture: Public Monuments and Modern Poets and is currently completing a study of the politics of Yeats, Eliot, and Pound. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Using Stanley CavellMichael FischerContending with Stanley Cavell, edited by Russell B. Goodman, 205 pp. Oxford: Oxford University Press, 2005, $45.00Reading Cavell, edited by Alice Crary and Sanford Shieh, 262 pp. London: Routledge, 2006, $120.00Stanley Cavell, edited by Richard Eldridge, 260 pp. Cambridge: Cambridge University Press, 2003, $24.99.Stanley Cavell often speaks of inheriting and carrying on the work of Ludwig Wittgenstein, Ralph Waldo Emerson, Henry David Thoreau, and (...) other writers. These writers help him move on in his own thinking, turning him around when he feels lost, provoking him when he gets discouraged or stuck. His indebtedness to J. L. Austin in the acknowledgements to Must We Mean What We Say? (1969) captures one way he benefits from all the writers who have influenced him: "To the late J. L. Austin I owe, beyond what I hope is plain in my work, whatever is owed the teacher who shows one a way to do relevantly and fruitfully the thing one had almost given up hope of doing."1 By taking up the work of the writers he values, Cavell hopes to undo what he sees as their neglect and misappropriation by the culture at large and by the academic profession. He makes his case for these writers not so much by exhortation as by his own use of them.The impact of Cavell's own writing on his readers continues to unfold, as these three books attest. Each is a helpful collection of essays by scholars in various fields discussing his work. Reading Cavell includes [End Page 198] an essay by Cavell ("The Wittgensteinian Event"), as does Contending with Stanley Cavell ("Passionate and Performative Utterance: Morals of Encounter"), which also features a response by Cavell to the other essays in the volume.The contributors in these three volumes all begin from the assumption that Cavell, like the writers who have influenced him, remains marginalized even though interest in his work has grown. But his isolation can be overstated. In an otherwise insightful essay on Cavell's literary criticism ("The Avoidance of Stanley Cavell" in Contending with Stanley Cavell ), Garrett Stewart laments "the regrettable undercirculation of Cavell's ideas" (p. 140) in literary studies and predicts that "mainstream literary scholars will increasingly have a hard time" with his writing—Stewart calls it "literary prose"—because it calls on reading skills that in the "epoch of cultural studies, discourse analysis, and the semiotics of social energy" have "atrophied" (p. 153). In the introduction to this same volume, Russell Goodman offers a more measured, less pessimistic assessment that gets Cavell's peculiar professional status exactly right: "Cavell occupies a curious position in all the fields in which he works: he is at the same time a major figure and one whose work people do not quite know how to use" (p. 3).In figuring out how to use Cavell, several contributors to these volumes begin by explicating his key ideas and texts. The writers in Stanley Cavell assess his contributions to several broad areas, including ethics, theory of action, philosophy of mind and language, aesthetics, and Shakespeare criticism. Reading Cavell and Contending with Stanley Cavell include essays on such central topics as his view of skepticism and his understanding of the ordinary. Of special note is Stephen Mulhall's close reading of the opening of The Claim of Reason, "On Refusing to Begin," in Contending with Stanley Cavell. One barrier to using Cavell remains his style, which readers either love or hate. Mulhall shows that the very features of Cavell's writing that some readers find most annoying—for example, his penchant for complicating and qualifying even the apparently most obvious point—in fact instruct us in how to read him. Mulhall astutely describes The Claim of Reason and Philosophical Investigations as modernist texts written in the absence of philosophical conventions that the writers can take for granted. Such writing must resemble "a half-built edifice whose form acknowledges both its origin in ruins and the completion it foreshadows" (p. 32)—but never attains.In addition to explicating Cavell, other contributors to these volumes extend his work to texts and issues he does not address. These... (shrink)

Examines the new internationalism which emerged in Europe during the Enlightenment. This is the study of cosmopolitanism, which takes into account feminist and post-colonial critiques of the Enlightenment. It also offers cosmopolitanism as a solution to contemporary struggles to reach a post-national political identity.

One of Marx‘s and Engels‘ main claims (hereafter ―original Marxism) in their account of the historical ―inevitability of the collapse of capitalism is that one‘s material (economic) conditions, not one‘s ideas, arguments or philosophy, determines one‘s ―consciousness and actions. However, the self-reference in this characterization of philosophical views generates a paradox analogous to the 7th century B.C. Epimenides ―Liar paradox. The Epimenides-paradox arises when Epimenides, a Cretan, states that all Cretans are liars. Epimenides-statement is paradoxical in the sense that if (...) it is true then it is false. Similarly, the Marxist claim that all philosophers who purport to state the cause of all social changes must be wrong, where Marx and Engels are themselves philosophers stating just such a claim, generates a paradox analogous to the ― Epimenides Liar paradox. This leads to what Engels himself calls a―false consciousness, i.e., a failure to understand the true causes of social change. This paradox can only be escaped by abandoning at least one of original Marxism‘s core doctrines. (shrink)

Parasite is best seen in existential rather than moral terms. It does not issue in moral, social or economic judgements. The film describes, or perhaps portrays, the dreamlike mode of fantasy “existence” the “underground” people in a society so rigidly stratified that communication with people on the other side of the societal “lines” is literally impossible, inevitably resulting in the destruction, real or metaphorical, of everyone on both sides of those lines.

Topics in Cognitive Science, Volume 14, Issue 3, Page 574-601, July 2022.

Cognitive Science, Volume 46, Issue 3, March 2022.

This paper discusses Wittgenstein’s striking remark at para. 608 of Zettel, hereafter Z608, which, according to most commentators, suggests that the order of language and thought might arise out of physical chaos or nothingness at the neural center of normal language users. In opposition to this orthodox interpretation, the present paper argues that Z608, following Spengler, who is himself influenced by Goethe and Nietzsche, is actually suggesting that the order in language and thought might arise out of the creative chaos (...) at what Spengler sees as the true center of human life, namely, human history. (shrink)

Scholars have often struggled with the notion of mysticism in Wittgenstein’s Tractatus-logico-philosophicus (TLP). The paper develops a taxonomy of the multiple species of mysticism in TLP in order to show that its notion of the mystical actually has a complex hierarchial structure. A key notion in TLP’s account is its neglected notion of the “life-world” (5.621), specifically, that realm in which the “mystical” “shows itself [zeigt sich]”. A comparison is made with Heidegger’s notion in Being and Time of the fundamental (...) phenomena of phenomenology as that that sort of phenomena that “shows itself [sich zeit].” That is, TLP’s notion of the mystical is at the same time a sketch the phenomenological structure of the “life-world”. On this basis it is argued that TLP’s account of linguistic meaning is parasitic on its notion of the “mystical” dimension of the “life-world”, which has the consequence that one cannot separate the “safe” logical and scientific portion of TLP from its mysticism as Russell and the logical positivists tried to do. The “mysticism” and “phenomenology” must stay. Finally, the paper argues that TLP is not, as often thought, a proponent of Russell’s method of analysis into “logical atoms” but actually presents a powerful critique of the analytical method. (shrink)

Originally published in 1990, _Psychoanalysis and…_ brings together essays by critics whose work demonstrates the lively interpenetration of psychoanalysis and other disciplines. Andrew Ross investigates psychoanalysis and Marxist thought; Joel Fineman reads the "sound of O" in Othello; Jane Gallop asks "Why does Freud giggle when the women leave the room?"; and Ellie Ragland-Sullivan examines Lacan’s seminars on James Joyce. This stimulating collection of work should still be required reading, especially for students of literature. But _Psychoanalysis and… _demonstrates that psychoanalysis (...) – and theoretical criticism, and feminism, and Lacanian theory, and semiotics, and Marxism, and deconstruction, and literary criticism – was, at the time, a rich and expanding terrain. (shrink)

Machines that learn and think like people must be able to learn from others. Social learning speeds up the learning process and – in combination with language – is a gateway to abstract and unobservable information. Social learning also facilitates the accumulation of knowledge across generations, helping people and artificial intelligences learn things that no individual could learn in a lifetime.

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)

§ I presents a detailed version of “Popper’s Basic Argument.” § 2 shows why Marx’s theory of historical development is a paradigm case of the kind of “historicism” that is refuted by Popper’s argument. § 3 explains the crucial difference between Marx’s and Spengler’s respective theories that makes the former but not the latter fall to Popper’s criticism. § 4 argues that the inapplicability of Popper’s argument to Spengler’s type of theory is obvious from the beginning.

§ I describes Heidegger’s account of authenticity in BT. § II describes Spengler’s account of Dasein as the being of plants.4 § III argues that Heidegger holds that authentic Dasein is rooted in a Volk as a plant is rooted in its soil. § IV shows that Heidegger’s post-Being and Time authenticity consists in embracing the plant-like dream, expressed in “primordial poetry,” of one’s Volk. § V replies to a textual objection.

Biographical account of Thomas Merton who was one of the leading Christian spiritual leaders of the 20th century. He authored more than 60 books and many reviews and essays primarily on spirituality, social justice and pacifism. His autobiographical account of his spiritual journey in The Seven Story Mountain proved immensely inspirational to many and is listed as one of the 100 best non-fiction books of the 20th century by the National Review. In later life, Merton engaged in dialogue with major (...) Eastern spiritual figures like the Dali Lama, Thai Buddhist monk Buddhadasa, Vietnamese monk Thich Nhat Hanh and Japanese writer D.T. Suzuki. Merton wrote books on Zen Buddhism, Confucianism and Taoism at a time when this was not common among Christian theologians. -/- ​. (shrink)