A number of recent papers have criticized what they call the dynamical interpretation of evolutionary theory found in Elliott Sober’s The Nature of Selection. Sober argues that we can think of evolutionary theory as a theory of forces analogous to Newtonian mechanics. These critics argue that there are several important disanalogies between evolutionary and Newtonian forces: Unlike evolutionary forces, Newtonian forces can be considered in isolation, they have source laws, they compose causally in a straightforward way, and they are intermediate (...) causes in causal chains. Here we defend and extend the forces analogy by arguing that each of these criticisms is based on a misunderstanding of Newtonian forces. Our discussion also has the interesting consequence that natural selection turns out to be more similar to forces such as friction and elastic forces rather than the more canonical gravitation. (shrink)

History and Philosophy of Logic, Volume 32, Issue 3, Page 292-294, August 2011.

Boundary extension is a memory phenomenon in which an individual reports seeing more of a scene than they actually did. We provide the first examination of boundary extension in individuals diagnosed with depression, hypothesising that an overemphasis on pre-existing schema may enhance boundary extension effects on emotional photographs. The relationship between boundary extension and overgeneralisation in autobiographical memory was also explored. Individuals with (n = 42) and without (n = 41) Major Depressive Disorder completed a camera paradigm task utilising positive, (...) negative, and neutral stimuli. Across all participants, positive (d = 0.37) and negative (d = 0.66) stimuli were extended more than neutral stimuli. This effect did not differ between depressed and never-depressed participants. Across all participants, images containing objects were extended more than images containing faces. An association was also evident between extension effects in memory for perceptual space and extensions of autobiographical memory across time. (shrink)

We introduce a family of rules for adjusting one's credences in response to learning the credences of others. These rules have a number of desirable features. 1. They yield the posterior credences that would result from updating by standard Bayesian conditionalization on one's peers' reported credences if one's likelihood function takes a particular simple form. 2. In the simplest form, they are symmetric among the agents in the group. 3. They map neatly onto the familiar Condorcet voting results. 4. They (...) preserve shared agreement about independence in a wide range of cases. 5. They commute with conditionalization and with multiple peer updates. Importantly, these rules have a surprising property that we call synergy - peer testimony of credences can provide mutually supporting evidence raising an individual's credence higher than any peer's initial prior report. At first, this may seem to be a strike against them. We argue, however, that synergy is actually a desirable feature and the failure of other updating rules to yield synergy is a strike against them. (shrink)

This chapter describes the potential far‐reaching consequences of contemplative higher education for the fields of science and medicine.

" L'argent est l'envers de toutes les images que le cinéma montre et monte à l'endroit " écrit Gilles Deleuze dans le deuxième volet de Cinéma. Le capital est toujours derrière le cinéma. Le Capital hante Cinéma du début à la fin. C'est donc une lecture marxiste du diptyque composé de L'Image-mouvement et L'Image-temps que propose Jun Fujita dans Ciné-capital. Comment fonctionne le mode de production ciné-capitaliste? Comment celui-ci fait-il produire de la plus-value aux images? Pourquoi et comment s'approprie-t-il le (...) travail même du spectateur? En quel sens peut-on soutenir qu'Eisenstein et Hitchcock ont anticipé l'arrivée de la New Economy des années 1990 (dématérialisation du travail et financiarisation de l'économie)? Quand et comment les images s'insurgent-elles contre l'exploitation ciné-capitaliste? Comment se mettent-elles à valoir pour elles-mêmes? Pourquoi le cinéma politique, depuis Straub et Huillet, a-t-il cessé de privilégier le tournage au bord de la mer? Qu'est-ce qui permet à Deleuze d'affirmer qu'Ozu est un cinéaste de gauche? Telles sont quelques-unes des questions abordées dans Ciné-capital. (shrink)

Causation is one of philosophy's most venerable and thoroughly-analyzed concepts. However, the study of how ordinary people make causal judgments is a much more recent addition to the philosophical arsenal. One of the most prominent views of causal explanation, especially in the realm of harmful or potentially harmful behavior, is that unusual or counternormative events are accorded privileged status in ordinary causal explanations. This is a fundamental assumption in psychological theories of counterfactual reasoning, and has been transported to philosophy by (...) Hitchcock and Knobe (2009). A different view--the basis of the culpable control model of blame (CCM)--is that primary causal status is accorded to behaviors that arouse negative evaluative reactions, including behaviors that stem from nefarious motives, negligence or recklessness, a faulty character, or behaviors that lead to harmful or potentially harmful consequences. This paper describes four empirical studies that show consistent support for the CCM. (shrink)

Ce qu'il s'agit d'analyser, d'ausculter, c'est ce que Walter Benjamin, en 1929 déjà, décrivait comme un espace chargé à cent pour cent d'images. Autrement dit : cette visibilité saturée qui nous arrive de partout, nous entoure et nous traverse aujourd'hui. Un tel espace iconique est le produit d'une histoire : celle de la mise en circulation et de la marchandisation générale des images et des vues. Il fallait ébaucher sa généalogie, depuis les premiers ascenseurs ou escalators (ces travellings avant la (...) lettre) jusqu'aux techniques actuelles de l'oculométrie traquant les moindres saccades de nos yeux, en passant par le cinéma, grand chef d'orchestre des regards. Mais, sous-jacente à cette innervation du visible, il y a une économie propre aux images : ce qu'on tente d'appeler leur iconomie. Deleuze l'avait entrevue lorsqu'il écrivait, dans des pages inspirées par Marx : "l'argent est l'envers de toutes les images que le cinéma montre et monte à l'endroit". Une phrase que l'on n'entendra dans toute sa portée ontologique qu'à condition de se souvenir que "cinéma" veut aussi dire ici : "l'univers". C'est pourquoi, tout en se laissant guider par des séquences d'Hitchcock, de Bresson, d'Antonioni, de De Palma ou des Sopranos, ces pages voudraient frayer la voie qui conduit d'une iconomie restreinte à ce qu'on pourrait nommer, avec Bataille, une iconomie générale. (shrink)

L'espace-temps du cinéma est un piège, une bonne occasion d'ouvrir, une fois encore, la retraite de l'espace à l'empire du temps. La peinture n'avait pas le temps, le cinéma l'a pris. La " théorie ", avec André Bazin, a, pour mieux assurer cette propriété, inventé le " hors-champ ". La pensée, aujourd'hui, doit se soumettre à la règle de cette ordonnance sous peine de se retrouver " hors-jeu ". Mais le cinéma, lui, obéit-il à cette loi paternelle? Que fait-il lorsqu'il (...) s'échappe dans la cour de sa récréation? Renoir, lorsqu'il a couru tout autour de la cour, dans Le Crime de monsieur Lange, et Hitchcock, lorsqu'il a, dans Fenêtre sur cour, condamné l'imprudence d'un homme qui, à la lettre, se mêlait de ce qui ne le regardait pas, avaient-ils l'œil ailleurs? Ou encore, avec Lang ou Straub, n'avaient-ils pas compris qu'il était plus important de rajouter un " hors-d'œuvre " à leur menu que de contempler voire d'adorer la Tunique " sans couture " de la réalité? (shrink)

This article attempts to lean against the suffocating trend towards mourning, theological exegesis and close-circuit canonisation that has characterised Derrida studies in the wake of his death. On Touching is particularly brutal towards Nancy's presumption of a ‘post-deconstructive’ haptics in a manner that extends to a general discipleship (glossing Derrida's remark, ‘I am not of the family’). Summarising the entire course of Derridean ‘deconstruction’ (departing from phenomenology, recycling early studies), On Touching may be his most political monograph. Yet in cutting (...) off Nancy, Derrida at once cuts off ‘future’ extensions while turning aside from any projection of what lies beyond this then closed history except for complex references to memory machines. This essay then asks what teletechnic media already knows of the prosthetic hand and eye by turning to Hitchcock's Spellbound, where a propping-up of the senses by technics is allowed to exceed, or virtually suicide, itself. In refusing to address any ‘beyond’ of a metaphysical haptics while cutting off his own future extenders (readers, progeny), Derrida raises (yet turns from) the question of what exceeds this closed history entering 21st-century horizons. (shrink)

The paper tries to provide an alternative to Hempel’s approach to scientific laws and scientific explanation as given in his D-N model. It starts with a brief exposition of the main characteristics of Hempel’s approach to deductive explanations based on universal scientific laws and analyzes the problems and paradoxes inherent in this approach. By way of solution, it analyzes the scientific laws and explanations in classical mechanics and then reconstructs the corresponding models of explanation, as well as the types of (...) scientific laws appearing in it. Finally, it compares this reconstruction with the approaches of J. Woodward and C. Hitchcock, C. Liu and with the views of M. Thalos on analytic mechanics. (shrink)

While the initial reception of Alfred Hitchcock's Vertigo was unspectacular, it made its presence felt in a host of other films – from Chris Marker's Sans Soleil, to Brian De Palma's Obsession, and David Lynch's Mulholland Dr.. What seemed to have eluded the critics at the time is that Vertigo is a film about being haunted: by illusive images, turbulent emotions, motion and memory, the sound and feeling of falling into the past, into a nightmare. But it is also (...) a shrewdly reflexive film that haunts filmmakers, critics, and artists alike, raising fundamental questions about the ontology of moving images and the regime of fascination that churns them out. Douglas Gordon's Feature Film, D.N. Rodowick's The Wanderers, and Lynn Hershman's VertiGhost are contemporary examples of how the appropriation and contemplation of some the film's most iconic motifs, themes and strategies ask us to rethink the relation of fetishism to fabulation, and supplementarity to dissimulation and social engineering. Feature Film, The Wanderers, and VertiGhost are supplementary works, but like the original film they are about duplicity, doppelgänger, and dissimulation. What interests us is how they challenge the authority over, or even proximity to, that which returns in the form of the supplement. And ultimately, attaching themselves to the chain of forgers and forgeries, these supplementary works take their place in the vertiginous sequence of substitutions the film established: a neat allegory for a reign of the digital ghosting that Hitchcock could never have anticipated. (shrink)

Ce dictionnaire propose de réunir des portraits de brutes et de mégères dans le but de s'interroger sur les causes et les raisons de cette perception négative. Pourquoi certaines figures évoquent-elles la méchanceté? Que peut nous dire cette méchanceté dénoncée de nous-mêmes et de l'époque qui l'a engendrée? Il s'agira de retracer les portraits de ceux et celles ayant marqué l'Histoire et la fiction par leur cruauté, leur perfidie, leur machiavélisme, leur art de la dissimulation ou de la manipulation. S'attarder (...) sur la méchanceté et ses possibles, décliner les façons de la penser et de la vivre, de la subir ou de l'exercer, c'est s'intéresser à une facette peu valorisée de la sensibilité d'autant plus importante que chaque individu, de près ou de loin, est amené, un jour, à se montrer méchant. La méchanceté et ses manifestations, qu'elles soient conceptuelles ou biographiques, nous invitent donc à une introspection globale, à une immersion dans les affres de la noirceur des âmes dont la bouche n'est autre que celle de la méchanceté Le champ de cette entreprise est vaste et recouvre notamment : La Malice, le Machiavélisme, Orangina Rouge, Barbe Bleue, le cinéma d'Alfred Hitchcock, Marie-Antoinette, la Mauvaise conscience, Gilles de Rais, Harry Powell (La nuit du chasseur) Salomé-Hérodiade, Dracula, Tatie Danielle, Marie Tudor, la Perversité, la Mégère Grecque, Dark Vador, Mildred Ratched (Vol au-dessus d'un nid de coucou)... (shrink)

Introduction: how John the Baptist kept his head, or my life in film philosophy -- A philosophical perspective. Why not realize your world? -- Silence and stasis -- Film and modernity -- André Bazin as Cavellian realist -- On Stanley Cavell's band wagon -- What becomes of the camera in the world on film? -- Studies in criticism. "I never thought I would sink so low as to become an actor": John Barrymore in Twentieth century -- James Stewart in Vertigo (...) -- Hats off to George Cukor! -- Woody Allen's New York -- Blood is thicker than water: the family in Hitchcock -- Space and speech in the films of Yasujiro Ozu -- Romance, eroticism and the camera's gaze in Jean Genet's Un chant d'amour -- Face to face with Chantal Akerman -- Precious memories in philosophy and film -- Seeing the light in The tree of life -- A film that is also a handshake: philosophy in the films of the Dardenne Brothers -- Justifying justified -- Documentary film in Boston in the 1970s and 1980s -- Sometimes daddies don't talk about things like that -- Jean Rouch as film artist -- Dancing with Gardner: Robert Gardner's films on art -- Dead birds re-encountered: a journey of return -- Notes on the essays. (shrink)

The availability in universal grammar of two separate copulas of predication & identity is supported by an analysis of pseudoclefts in Welsh. A single-copula analysis of the ambiguity between predicational & specificational interpretations of pseudoclefts in English cannot be extended to Welsh, where specificational interpretation (1) is permitted by only one of three copular paradigms, all of which may have a predicational interpretation, & (2) is possible with both of the D-structures used in the single-copula analysis to distinguish between the (...) two interpretations in English. It is argued that the differences between English & Welsh with respect to the interpretation of copular constructions can only be explained by positing a dual-copula analysis for Welsh & a single-copula one for English; the data confirm the existence of a type-shifting functor in English that is realized lexically as a copula in Welsh. 47 References. J. Hitchcock. (shrink)

Ce texte a déjà paru dans la mineure « Rythmanalyses » de la revue Multitudes, n° 46, 2011. Nous remercions la revue Multitudes et Pierre Sauvanet de nous avoir autorisé à le reproduire ici. Premier temps. Regardons pour commencer Young and Innocent : la dernière scène de ce film de jeunesse d'Alfred Hitchcock est un grand moment de cinéma — mais pas seulement. Comme souvent chez le réalisateur, la trame du film se noue autour de ce jeune homme, accusé (...) d'un meurtre qu'il n'a pas - Pour une éthique et une politique du rythme – Nouvel article. (shrink)

The work of Michèle Le Dœuff creatively disrupts established notions of what philosophy might be. Far from being a discipline about the leader and the disciple, a hierarchy of knowledge and paternalism, Le Dœuff proposes a philosophy of dialogue and friendship. The conversations in this book explore how this philosophy can be enacted and explored, and show how openness and generosity can be the starting point of truly rigorous thinking. Introduced and curated by the late philosopher, Pamela Sue Anderson, In (...) Dialogue with Michèle Le Dœuff explores themes like contemporary feminism, joy in philosophy, memory, the significance of friendship to thinking and a key Le Dœuffian concept, the imaginary. Le Dœuff's interlocutors, including Penelope Deutscher, Elizabeth Fallaize and Meenda Dhanda, are some of the most significant thinkers in the fields of feminism and continental thought and provide insights and ways into considering philosophy as a profoundly dialogical exercise. (shrink)

What if you woke up one morning and found you'd acquired another self--a double who was almost you and yet not you at all? What if that double shared many of your preoccupations but, in a twisted, upside-down way, furthered the very causes you'd devoted your life to fighting against? Not long ago, the celebrated activist and public intellectual Naomi Klein had just such an experience--she was confronted with a doppelganger whose views she found abhorrent but whose name and public (...) persona were sufficiently similar to her own that many people got confused about who was who. Destabilized, she lost her bearings, until she began to understand the experience as one manifestation of a strangeness many of us have come to know but struggle to define: AI-generated text is blurring the line between genuine and spurious communication; New Age wellness entrepreneurs turned anti-vaxxers are scrambling familiar political allegiances of left and right; and liberal democracies are teetering on the edge of absurdist authoritarianism, even as the oceans rise. Under such conditions, reality itself seems to have become unmoored. Is there a cure for our moment of collective vertigo? Naomi Klein is one of our most trenchant and influential social critics, an essential analyst of what branding, austerity, and climate profiteering have done to our societies and souls. Here she turns her gaze inward to our psychic landscapes, and outward to the possibilities for building hope amid intersecting economic, medical, and political crises. With the assistance of Sigmund Freud, Jordan Peele, Alfred Hitchcock, and bell hooks, among other accomplices, Klein uses wry humor and a keen sense of the ridiculous to face the strange doubles that haunt us--and that have come to feel as intimate and proximate as a warped reflection in the mirror. Combining comic memoir with chilling reportage and cobweb-clearing analysis, Klein seeks to smash that mirror and chart a path beyond despair. Doppelganger asks: What do we neglect as we polish and perfect our digital reflections? Is it possible to dispose of our doubles and overcome the pathologies of a culture of multiplication? Can we create a politics of collective care and undertake a true reckoning with historical crimes? The result is a revelatory treatment of the way many of us think and feel now--and an intellectual adventure story for our times. (shrink)

I temi della fede e della religione, e del loro conflitto con la cultura laica, sono da qualche tempo al centro di un interesse mediatico crescente, alimentato anche dalle polemiche politiche suscitate dal moltiplicarsi degli interventi e delle "scomuniche" del papa e della Conferenza Episcopale Italiana contro la modernità. Mancava fin qui, tuttavia, un testo di discussione, da punti di vista diversi e reciprocamente problematici, sulle ragioni dell'ateismo e della fede. Un confronto tra gli esponenti di tre posizioni ideologiche molto (...) lontane tra loro, accomunate però dal rifiuto di ogni appartenenza accademica: il cristianesimo nietzschiano del "pensiero debole" di Gianni Vattimo, la saggezza atea di una tradizione antica rilanciata da Michel Onfray e l'empirismo naturalistico-esistenziale della "filosofia del finito" di Paolo Flores d'Arcais. In questo insolito dialogo a tre voci emergono tutti gli interrogativi essenziali legati al problema, a partire da quello più generale: quali devono essere i rapporti tra filosofia e ateismo? L'"ipotesi Dio" deve ormai essere considerata superflua anche dalla riflessione filosofica, visto che le scienze ne fanno metodologicamente a meno? Quali sono le conseguenze etiche e politiche dell'essere atei o, all'opposto, credenti? (shrink)

Plotinus is the first Greek philosopher to hold a systematic theory of consciousness. The key feature of his theory is that it involves multiple layers of experience: different layers of consciousness occur in different levels of self. This layering of higher modes of consciousness on lower ones provides human beings with a rich experiential world, and enables human beings to draw on their own experience to investigate their true self and the nature of reality. This involves a robust notion of (...) subjectivity. However, it is a notion of subjectivity that is unique to Plotinus, and remarkably different from the Post-Cartesian tradition. Behind the plurality of terms Plotinus uses to express consciousness, and behind the plurality of entities to which Plotinus attributes consciousness, lies a theory of human consciousness. It is a Platonist theory shaped by engagement with rival schools of ancient thought. (shrink)

La 4ème de couverture indique : « Le portrait de Dorian Gray, exhibé dès les premières pages du livre de Wilde auquel il donne son titre, fascine d’emblée le lecteur. La lecture proposée ici souligne que ce portrait, pour ainsi dire jeté en pâture, sert d’écran ou de paravent à un autre portrait encore plus séducteur et inquiétant, en général moins remarqué, celui de la mère morte, représentée en bacchante, qui le hante secrètement. Outre L’imposture de la beauté, ce recueil (...) comprend une étude sur Le Moïse de Michel-Ange de Freud : Un autre Moïse, ou la Force de la loi ; deux lectures consacrées à Nietzsche : Nietzsche et Wagner, Nietzsche et Voltaire (Et pourtant elle tremble!) ; Un battu imbattable, à propos de Larmes de clown, du cinéaste Victor Sjöström ainsi que Angoisse et catharsis, sur The Lady Vanishes, d’Alfred Hitchcock. ». (shrink)

Lectures on Hindu monistic (Advaita) Vedanta philosophy.