We show that the evasion number $\mathfrak {e}$ can be added to Cichoń’s maximum with a distinct value. More specifically, it is consistent that $\aleph _1<\operatorname {\mathrm {add}}(\mathcal {N})<\operatorname {\mathrm {cov}}(\mathcal {N})<\mathfrak {b}<\mathfrak {e}<\operatorname {\mathrm {non}}(\mathcal {M})<\operatorname {\mathrm {cov}}(\mathcal {M})<\mathfrak {d}<\operatorname {\mathrm {non}}(\mathcal {N})<\operatorname {\mathrm {cof}}(\mathcal {N})<2^{\aleph _0}$ holds.

Biological forms are very complex, and mechanisms of pattern formation are not well understood. Although developmental biology deals with the mechanistic explanation of patterns, currently we do not know how to understand the mechanisms of pattern formation from huge amounts of molecular information. In this article, I present one useful tool, mathematical modeling, to obtain a mechanistic understanding of biological pattern formation, and show an actual example in lung branching morphogenesis. In this example, mathematical modeling plays an indispensable role in (...) understanding the biological phenomena. The model successfully reproduces the basic features of morphogenesis in vitro, but mechanism in vivo still remains to be elucidated. (shrink)

There are many gene families that are specific to multicellular animals. These have either diverged from ancestral genes that are shared with fungi and/or plants or evolved from an ancestral gene unique to animals. The evolution of gene families involved in cell–cell communication and developmental control has been studied to establish whether the number of member genes increased dramatically immediately prior to or in concert with the Cambrian explosion. A molecular phylogeny‐based analysis of several animal‐specific gene families has revealed that (...) gene diversification by duplication occurred during two active periods interrupted by a long intervening quiescent period. Intriguingly, the Cambrian explosion is situated in the silent period, indicating that there is no direct link between the first burst of gene diversification and the Cambrian explosion itself. The importance of gene recruitment as a possible molecular mechanism for morphological diversity, and its possible role for the Cambrian explosion, are discussed. BioEssays 23:1018–1027, 2001. © 2001 John Wiley & Sons, Inc. (shrink)

This book covers a broad range of topics in the history of economics that have relevance to economic theories. The author believes that one of the tasks for a historian of economics is to analyze and interpret theories currently outside the mainstream of economic theory, in this case non-Walrasian economics. By doing so, he argues, new directions and new areas for research can be developed that will extend the current theories. Familiar topics covered include: the division of labor, economies of (...) scale, wages, profit, international trade, market mechanisms, and money. These are considered in the light of the well-known non-Walrasian schools of thought: the classical, Marxian, Austrian, and Cambridge schools. (shrink)

Meaning Solipsism says that it is possible for there to be a meaningful state without any other meaningful state. The meaning of such a solo meaningful state should be non-natural. The best strategy for establishing Meaning Solipsism is to argue for the determination of the meaning of a possible solo meaningful state via the set of entities the meaning of the state fits. Embracing merely possible and impossible entities is the most straightforward way to do so. Also, a good way (...) to honor analayticities the meaning of a solo meaningful state gives rise to is to insist on certain facts about impossible entities as non-negotiable brute facts. (shrink)

The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution of (...) the perceived object, but also in the context of the deconstruction of representation or in the genealogy of “de-representation” (Lyotard). By following Merleau-Ponty’s interpretation of the works of Cézanne and Klee, we are going to see how his theory of the experience of body and the formation of their works of art meet up in his consideration of the reversibility of the visible and the invisible. When Merleau-Ponty quotes Valéry’s phrase “the painter brings his body with him,” the body of the artist is no longer “subject-body” perceiving the world in a prosaic way; rather, the body is implicated in the anonymous vision at the source from which the painter’s expression emerges. Just as nature is recounted through the poet, it has the faculty of seeing itself through the painter. In the “Methods of Natural Research,” Klee says “the resonance surpasses all the optical foundations between myself and that which opposes me,” “the united anti-optic way of the root going out of the earth, which looks at me from down below all the way up to my eyes” and of the “united non-optic way of the universe come from above.” He demonstrates that this non-optic resonance, rather than a mirror and a black screen separating the light, allows the eye to be seen as a point of junction of non-optical things and thereby it constitutes a part of the circle created by the new nature of works (eine neue Natürlichkeit des Werkes). Following what is particular to Merleau-Ponty’s thought in which the body is conceived as a principle of de-representation, one sees, by means of his intention of assessing modern artistic creation as the deconstruction of classical ontology, the overcoming of the ontology of the object. In conclusion, we note that the theory of body and of painting in Merleau-Ponty brings to light the limit of the possibility of representation in modern art, by emphasizing especially the non-perception or the transcendence that one can discern in the perceptual field. By interrogating the body of the painter and the poet, that is, the poetic body or the body as symbolism, prior to its being diverted into being a result of the brain and of the libido where the body is no longer the body visible in the world, by doing this, Merleau-Ponty has found a way of placing the body beyond representation. Poièsis is no longer mimèsis in the banal sense of imitation, and the poetic body is not the representational body. But, he has found a way of placing it still in Visibility, as if there were a hinge in this border between the visible and the invisible, in this border between representation and de-representation, a border that one cannot definitively overcome by structuring it as a dichotomy. (De-representation, but the visible. Therefore the possibility of visible de-representation in the artistic creation, in poièsis.) This hinge, which denies us an alternation, is the body, the flesh, which is the condition of thought as ontological interrogation: an ontological interrogation in the age of ir-representation, in the age of the impossibility of representation (Vorstellung) and of poem (Dichtung), in the age of crowds where the image appears as one of my fellow creatures just like the shadow cast by existence.Il corpo ai limiti della rappresentazione. La teoria del corpo e della pittura di Merleau-PontyNe L’occhio e lo spirito Merleau-Ponty cita una frase di Valéry: “il pittore si dà con il suo corpo”. Egli interpreta l’esperienza corporea dell’artista non solo come il centro di un orientamento percettivo o cinestesico, ma anche come motivo d’ispirazione per poeti e per pittori. In questo senso, si può collocare la sua teoria del corpo non solo all’interno della problematica della costituzione fenomenologica dell’oggetto percepito, ma anche nel contesto della decostruzione della rappresentazione o nella genealogia della “derappresentazione” (Lyotard). Seguendo l’interpretazione merleaupontiana delle opere di Cézanne e di Klee, vedremo come la sua teoria dell’esperienza del corpo e la formazione delle loro opere d’arte convergano nella considerazione della reversibilità del visibilee dell’invisibile. Quando Merleau-Ponty cita la frase di Valéry “il pittore si dà con il suo corpo”, il corpo dell’artista non è più un corpo soggettivo che percepisce il mondo in modo prosaico; il corpo è piuttosto implicato nella visione anonima dell’origine dalla quale emerge l’espressione del pittore. In Wege des Naturstudiums, Klee afferma che “la risonanza sorpassa tutti i fondamenti ottici tra me e ciò che mi si oppone”. Egli dimostra che questa risonanza non-ottica, piuttosto che essere uno specchio o uno schermo nero che separa la luce, permette di vedere l’occhio come un punto di giunzione di cose non ottiche e ciò costituisce una parte del circolo creato dalla nuova natura delle opere (eine neue Natürlichkeit des Werkes). Seguendo la particolarità del pensiero merleaupontiano, secondo il quale il corpo è concepito come un principio di de-rappresentazione, si nota, in virtù della sua intenzione di interpretare la creazione nell’arte moderna come la decostruzione dell’ontologia classica, il superamento dell’ontologia oggettivistica. In conclusione, osserviamo come la teoria del corpo e della pittura di Merleau-Ponty chiarisca i limiti della possibilità della rappresentazione nell’arte moderna, enfatizzando l’impercezione o la trascendenza che si può distinguere nel campo percettivo. Interrogando il corpo del pittore e del poeta – il corpo poetico o il corpo come simbolismo, a monte del suo porsi come risultato della mente o della libido, là dove il corpo non è ancora corpo visibile nel mondo – Merleau-Ponty ha trovato il mondo di collocare il corpo al di là della rappresentazione. Poièsis non è più mimesis nel senso banale d’imitazione, e il corpo poetico non è il corpo rappresentativo. Egli ha trovato il modo di posizionare il corpo nella Visibilità, come se esistesse un punto di rovesciamento situato sul confi ne tra visibile ed invisibile, ovvero sul confine tra rappresentazione e de-rappresentazione: un confine che non si può definitivamente superare se lo si continua a strutturare come dicotomia. Questo punto, che ci nega un’alternativa, è il corpo, la carne, che è condizione del pensiero come interrogazione ontologica: un’interrogazione ontologica nell’era dell’ir-rappresentazione, nell’era dell’impossibilità di rappresentare (Vorstellung) o di creare poemi (Dichtung), nell’era delle masse, in cui l’immagine appare come uno dei miei simili, come l’ombra proiettata dall’esistenza. (shrink)

This paper describes a decision model for an autonomous agent that provides an inhabitant with comfort based on information network technologies that connect home electric appliances with household equipment. The inhabitant enjoys the benefit of comfort, while he pays the cost for keeping that comfort. The autonomous agent should decide and control household equipment considering that cost from the inhabitant’s viewpoint. Thus, we utilized a representation scheme called an “influence diagram” that enabled us to model the decision-making process of the (...) agent from the inhabitant’s point of view. First, decision modeling using the influence diagram is presented via an example. The presented model consists of three information-processing modules: a module for estimating the situation of an inhabitant based on information from home networks, a module for evaluating comfort of the inhabitant, and a module for making decisions that maximize the utility of the inhabitant from both the viewpoints of comfort and the cost paid for that comfort. Next, an experiment for verifying whether the presented model is effective or not, and its results are described. Finally, our model of the agent is discussed in relation to social intelligence design by investigating the interactive processes between the agent and the inhabitant. (shrink)

The paper explores the logical strength of Isbell's zig‐zag theorem using the framework of reverse mathematics. Working in, we show that is equivalent to Isbell's zig‐zag theorem for countable monoids: If B is a monoid extension of A, then is dominated by A if and only if b has a zig‐zag over A. Our proof of Isbell's zig‐zag theorem avoids use of strong comprehension axioms common in traditional proofs. We also analyze the strength of theorems concerning binary relations.

ABSTRACTAnother individual’s gaze automatically shifts an observer’s attention to a location. This reflexive response occurs even when the gaze is presented subliminally over a short period. Another’s gaze also increases the preference level for items in the gaze direction; however, it was previously unclear if this effect occurs when the gaze is presented subliminally. This study showed that the preference levels for nonsense figures looked at by a subliminal gaze were significantly greater than those for items that were subliminally looked (...) away from. Targets that were looked at by a subliminal gaze were detected faster ; however, the participants were unable to detect the gaze direction. These results indicate that another individual’s gaze automatically increases the preference levels for items in the gaze direction without conscious awareness. (shrink)

Mark Jago’s four arguments against Takashi Yagisawa’s extended modal realism are examined and shown to be ineffective. Yagisawa’s device of modal tense renders three of Jago’s arguments harmless, and the correct understanding of predications of modal properties of world stages blocks the fourth one.