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)

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)

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)

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)

In The Quantum Self, Danah Zohar argues that the insights of modem physics can illuminate our understanding of everyday life -- our relationships to ourselves, to others, and to the world at large. Guiding us through the strange and fascinating workings of the subatomic realm to create a new model of human consciousness, the author addresses enduring philosophical questions. Does the new physics provide a basis by which our consciousness might continue beyond death? How does the material world (for instance, (...) ugly inner cities) impinge upon our sense of self? Is there a subatomic wellspring from which our creativity, our empathy with others, and our feelings of unity with the inanimate world originate?Most important, Zohar shows how the vitality of the new physics combats the alienation and fragmentation of twentieth-century life, and replaces it with a model of reality in which the universe itself may possess a type of consciousness, of which human consciousness is one expression. (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)

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)

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)

Ian C. Jarvie developed the idea of situational logic in a subtle and effective way. He was also interested in, as well as a contributor to, the institution of academic publication. This chapter provides a situational analysis of an important recurrent pattern in academic publishing, namely, the concentration of work around particular topics, despite the fact that most such work will be unrewarded in the economy of esteem that is meant to be in play.

It is almost universally believed that in quantum theory the two following statements hold: all transformations are achieved by a unitary interaction followed by a von-Neumann measurement; all mixed states are marginals of pure entangled states. I name this doctrine the dogma of purification ontology. The source of the dogma is the original von Neumann axiomatisation of the theory, which largely relies on the Schrődinger equation as a postulate, which holds in a nonrelativistic context, and whose operator version holds only (...) in free quantum field theory, but no longer in the interacting theory. In the present paper I prove that both ontologies of unitarity and state-purity are unfalsifiable, even in principle, and therefore axiomatically spurious. I propose instead a minimal four-postulate axiomatisation: associate a Hilbert space \ to each system \; compose two systems by the tensor product rule \; associate a transformation from system \ to \ to a quantum operation, i.e. to a completely positive trace-non-increasing map between the trace-class operators of \ and \; evaluate all joint probabilities through that of a special type of quantum operation: the state preparation. I then conclude that quantum paradoxes—such as the Schroedinger-cat’s, and, most relevantly, the information paradox—are originated only by the dogma of purification ontology, and they are no longer paradoxes of the theory in the minimal formulation. For the same reason, most interpretations of the theory interpret the same dogma, not the strict theory stripped of the spurious postulates. (shrink)

Chronic pain patients often miss receiving acknowledgement for the multidimensional struggles they face with their specific conditions. People suffering from chronic pain experience a type ofinvisibilitythat is also borne by other chronically ill people and their respective medical conditions. However, chronic pain patients face both passive and active exclusion from social participation in activities like family interactions or workplace inclusion. Although such aspects are discussed in the debates lead by the bio-psycho-social model of pain, there seems to be a lack (...) of a distinct interest in assessing more specifically the social aspects regarding chronic pain. As a result, the social aspects have yet to be taken into a more thorough theoretical consideration of chronic pain and to be practically implemented to help affected patients. By addressing chronic pain patients’ struggle for recognition, this paper attempts to shed light on some of these social aspects. We base this attempt on a theoretical framework that combines patients’ statements with an adaptation of Axel Honneth’s social-philosophical work onrecognition. Thus, this paper tries to make a suggestion on how the bio-psycho-social model of pain can live up to its name by helping to address more adequately some of the more neglected aspects in chronic pain patients’ suffering than has been possible to date. (shrink)

This "festschrift" brings together authors from various countries who are specialists in different disciplines within the humanities and who share a common vision of human life. These essays in philosophical speculation, political theory, literary criticism, and historical analysis are rooted in the western cultural heritage and Christian religious tradition. Major figures examined include Aristotle, Aquinas, Thomas More, John of the Cross, Donoso Cortes, and the Spanish Carlists. The interdisciplinary and cosmopolitan nature of this "festschrift" reflects the approach and style of (...) the man honored, Dr. Frederick D. Wilhelmsen. A special feature of the volume is a selection of critical studies of Professor Wilhelmsen's own work. (shrink)

Contemporary Continental Philosophy steps back from current debates comparing Continental and analytic philosophy and carefully, yet critically outlines the tradition’s main philosophical views on epistemology and ontology. Forgoing obscure paraphrases, D’Amico provides a detailed, clear account and assessment of the tradition from its founding by Husserl and Heidegger to its challenge by Derrida and Foucault. Though intended as a survey of this tradition throughout the twentieth century, this study’s focus is on the philosophical problems which gave it birth and even (...) now continue to shape it.The book reexamines Husserl as an early critic of epistemological naturalism whose grasp of the philosophical importance of the theory of meaning was largely ignored. Heidegger’s contrasting effort to revive ontology is examined in terms of his distinction between ontic and ontological questions. In contrast with many earlier studies, the author outlines confusions engendered by the misappropriation of the distinct philosophical agendas of Husserl and Heidegger by such famous figures as Sartre and Merleau-Ponty. The book is also original in its emphasis on how social externalism in epistemology, inspired by Karl Mannheim, influenced this tradition’s structuralist and Marxist phases. The philosophical defenses of a theory of interpretation by Gadamer and Habermas are closely examined and assessed and the study concludes with a a probing yet balanced account of Foucault and Derrida as critics of philosophical autonomy. The book concludes by reassessing this century-long divide between the analytic and Continental traditions and its implication for the future of philosophy. (shrink)

Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has been (...) interest in the brain’s underpinnings of aesthetic reactions to art on the one hand, and in the neural correlates of moral judgment and decision-making on the other (Greene and Paxton .. (shrink)

In his Consciousness and Fundamental Reality (2017) Philip Goff defends his anti-physicalist argument against what he calls the "Dual Carving" objection—the idea that two representations of the very same fact could both be conceptually independent and "transparent," that is, revealing of the essences of the entities in question. His defense invokes a thesis he calls "Minimal Rationalism." I explore exactly how Minimal Rationalism is supposed to turn aside the objection and argue that the formulation of Minimal Rationalism on offer is (...) ambiguous between stronger and weaker readings. Goff needs the stronger reading to use it in defense of his argument, but only the weaker reading is warranted by the considerations he brings to bear in favor of his rationalism. His minimal rationalism is, in sum, insufficiently minimal. The upshot is not only that Goff is deprived of a way of turning back an important objection to his case against physicalism; we also gain a better sense of what kind of rationalist thesis is properly invoked in metaphysics. (shrink)

This article analyzes the complex relation of phenomenology and literature in the work of Husserl and Derrida. In the first part, I show that the limited ideality of the literary object necessarily situates it in a derivative region of phenomenology. In the second part, however, I problematize the regional status of literature by elaborating a brief but important footnote in which Husserl broadens the concept of literature to embrace all cultural products whatsoever. Yet, because even this broadened concept of literature (...) ultimately remains secondary for the phenomenologist, it only redoubles and ratifies the submission of literature to the more ideal objectivities of mathematical disciplines like geometry. The third part, finally, mobilizes Derrida’s notion of “dissemination,” prepared in and unintelligible apart from his early engagement with Husserlian phenomenology, in order to broach a notion of literature that the phenomenologist can neither circumscribe nor describe. (shrink)