Recent criticism has already shown that the notoriously unanswered plot questions of The Big Sleep elicit serious philosophical issues, including skepticism about the validity of interpretation itself. The film allegorizes the reason for this questioning in what Derrida calls the "blackmail" of photography--its coercive claim to represent objective truth. Blackmail arising from photography is the main plot premise of The Big Sleep, but it serves as a figure for the "postal" world of signs divorced from referents, finally epitomized (...) in thel groundlessness of Marlowe's logic and final conclusions. Parallels are drawn between this Derridean world and Adorno's writings, in the light of Derrida's acknowledgement of their affinity. The phrase "big sleep" is gangster-slang for death, but this essay argues that it also refers to life, understood in the Buddhist sense of the human illusion of a waking or enlightened life. (shrink)

BackgroundSleep, physical activity, and diet have been associated with mental health and well-being individually in young adults. However, which of these “big three” health behaviors most strongly predicts mental health and well-being, and their higher-order relationships in predictive models, is less known. This study investigated the differential and higher-order associations between sleep, physical activity, and dietary factors as predictors of mental health and well-being in young adults.MethodIn a cross-sectional survey design, 1,111 young adults ages 18–25 from New Zealand and (...) the United States answered an online survey measuring typical sleep quantity and quality; physical activity; and consumption of raw and processed fruit and vegetables, fast food, sweets, and soda, along with extensive covariates and the outcome measures of depressive symptoms [measured by the Center for Epidemiological Depression Scale ] and well-being.ResultsControlling for covariates, sleep quality was the strongest predictor of depressive symptoms and well-being, followed by sleep quantity and physical activity. Only one dietary factor—raw fruit and vegetable consumption—predicted greater well-being but not depressive symptoms when controlling for covariates. There were some higher-order interactions among health behaviors in predicting the outcomes, but these did not survive cross-validation.ConclusionSleep quality is an important predictor of mental health and well-being in young adults, whereas physical activity and diet are secondary but still significant factors. Although strictly correlational, these patterns suggest that future interventions could prioritize sleep quality to maximize mental health and well-being in young adults. (shrink)

This article demonstrates the literary value of hardboiled detective fiction. I consider two different arguments for literary value, one based on Martin Heidegger's philosophy of art and the other on the tradition of form-content inseparability in literary aesthetics and literary criticism. The former is reliant on the genre's combination of formal complexity with substantive superficiality and the latter on the combination of formal complexity with substantive complexity. I employ Raymond Chandler's The Big Sleep (1939) and Nelson DeMille's Plum Island (...) (1997) as examples, focusing on the question of whether they have thematic content. I demonstrate that the novels instantiate substantive themes—about corruption, alienation, and moral amnesia—in consequence of which the argument for form-content inseparability is more compelling. I conclude by suggesting that form-content inseparability underpins both the literary value of hardboiled detective fiction and the genre's capacity for aesthetic education. (shrink)

The Problem of Consciousness This chapter will introduce you to consciousness and its most important characteristics. We will look at definitions of consciousness, and examine what it means to say that consciousness is a private experience. We will look at the idea that it is like something to be you or me. The chapter mentions ideas and themes that will be covered in more detail in the rest of the book, and explains why the topic is an important one. Research (...) on consciousness is big on questions but shorter on answers. Nevertheless these questions are central to what it means to be human, or indeed at the heart of what it's like to be anything - what it's like to be conscious. Think of yourself just now. What does it feel like you to be you right at this moment? Think of a loved one. What do you think it is like to be them? Do they know exactly what they're feeling, and do you know just what they're feeling? We might have some idea, but the answer in both cases is no, and not only "no", we can't see how we ever could know for sure. It's my consciousness and your consciousness. (shrink)

Film noir reflects the fatalistic themes and visual style of hard-boiled novelists and many émigré filmmakers in 1940s and 1950s America, emphasizing crime, alienation, and moral ambiguity. In The Philosophy of TV Noir, Steven M. Sanders and Aeon J. Skoble argue that the legacy of film noir classics such as The Maltese Falcon, Kiss Me Deadly, and The Big Sleep is also found in episodic television from the mid-1950s to the present. In this first-of-its-kind collection, contributors from philosophy, film (...) studies, and literature raise fundamental questions about the human predicament, giving this unique volume its moral resonance and demonstrating why television noir deserves our attention. The introduction traces the development of TV noir and provides an overview and evaluation of the book's thirteen essays, each of which discusses an exemplary TV noir series. Realism, relativism, and integrity are discussed in essays on Dragnet, Naked City, The Fugitive, and Secret Agent. Existentialist themes of authenticity, nihilism, and the search for life's meaning are addressed in essays on Miami Vice, The Sopranos, Carnivale, and 24. The methods of crime scene investigation in The X-Files and CSI are examined, followed by an exploration of autonomy, selfhood, and interpretation in The Prisoner, Twin Peaks, The X-Files, and Millennium. With this focus on the philosophical dimensions of crime, espionage, and science fiction series, The Philosophy of TV Noir draws out the full implications of film noir and establishes TV noir as an art form in its own right. (shrink)

Slavoj Žižek writes: "Today philosophy is approaching a double end. Physics and brain sciences offer answers to the big metaphysical questions (is the universe infinite? Do we have a free will?), while what remained of philosophy is mostly getting lost in historicist relativism, reducing truth to a discursive “truth-effect.” But more and more people are tired of this game: the need for a new beginning, for authentic metaphysics, is felt everywhere. And Allinson does something that we all secretly knew it (...) has to be done, but nobody dared to actually do it so directly: he convincingly argues for the return to a philosophy that shamelessly addresses big questions. A great sigh of relief will be felt by the readers of Awakening Philosophy: The Loss of Truth: we are back home. If there is justice in our intellectual life, the book will become daily bread for thinking beings." -/- Brian Klug, Emeritus Professor of Philosophy, the University of Oxford writes: "Awakening Philosophy is as original as it is ambitious. Allinson holds up a mirror to academic philosophy and shows how it has become fragmented into an eclectic set of specialisms. He seeks to get philosophy to question itself, thus reviving the spirit of Socratic enquiry: self-examination. In the process, he sets out to recover “the Great Questions” that have exercised philosophers from Plato to such figures as Descartes, Spinoza, Hume, Kant and Husserl. A timely and ground-breaking book." -/- Michael Slote, UST Professor of Ethics, Department of Philosophy, University of Miami, Member, Royal Irish Academy, former Tanner Lecturer, Stanford University, writes: "An elegant and timely appeal for philosophers and the educated public to make use of philosophy's historic roots for purposes of present-day enlightenment." In this original book, Robert Elliott Allinson asserts that philosophers have been lulled into a dogmatic sleep by Immanuel Kant, the slayer of metaphysics, who has convinced them (and the rest of humanity) that we can never know Reality. Allinson awakens global philosophers from their sceptical slumbers by diagnosing the reason why they have abdicated their traditional calling as leaders of inquiry into truth and wisdom. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Transformation:Power in Persistence and PerspectiveTyler BendrickWe've got another meth napper," my resident stated. With an introduction like that, it is hard not to be immediately labeled as a "difficult patient." Being the only Spanish-speaking person on the team, I, a third-year medical student, became the primary point of contact for this severely injured patient. He was an only-Spanish-speaking, 36-year-old male admitted [End Page 7] to our trauma service (...) after he was hit by a truck while riding his bicycle. Unbeknownst to me at the time, the 14 days I spent caring for this man would become one of the most pivotal learning experiences of my medical school career. It changed not only how I understand and approach "difficult patients" but expanded my knowledge of the complexities and challenges of the current healthcare system and how we, as physicians and healthcare providers, can deliver the best care to patients with low health literacy and limited resources.So, what is a "meth napper?" I questioned. "Well, meth is a super stimulant," my resident explained. "When people are frequent meth users, they get used to functioning normally with high levels of stimulants in their body, reducing the normal regulation of wakefulness. When the amphetamine is removed (such as upon admission to the hospital), the body is left to fend for itself, and thus patients oftentimes sleep for 23 hours a day for about 3 to 5 days while their body works to detox and normalize hormones."As predicted, my new friend, "Joe," was napping when I first went to see him. Thinking back, the word "napping" does not accurately describe his level of somnolence. He was virtually unarousable, and I took to a sternal rub to wake him up at 5 a.m. after his traumatic exploratory laparotomy the night before. Once aroused, he was furious. "Estoy bien. Tengo dolor y tengo hambre," he grunted at me. (I am fine, and I am in pain and hungry!). "Ok, Joe," I replied in Spanish, "I am just going to do a quick exam and you can go back to sleep. We will give you medications for your pain. You had a big surgery on your intestines, so you cannot eat or drink right now. If everything goes well in the next couple of days and you start walking around, we can advance your diet." He begrudgingly let me examine him, never opening his eyes, and I left and went about my day.We continued this routine for five days. I would periodically check on him and usually found him sleeping. When awake, he refused to work with physical therapists, get up and walk or go to the bathroom, shower, use his spirometer, or converse with the nursing staff. He seemed completely disinterested in recovery. About day three, we slowly advanced his diet to clear liquids so he could quench his thirst. Sometimes his wife was there, and she would ask for updates, to which I could only reply, "We have to wait until he is more awake or willing to work with us." I was getting frustrated, as it seemed that his noncompliance was becoming his barrier to discharge.But on day six, everything changed. I went to check on Joe, and he was wide awake, vomiting, and irate. He shouted that he was in incredible pain, and his incision was wet. He was also complaining that he had not eaten in five days, and was insisting that we were starving him. Again, I calmly explained (as I had multiple times a day for the past five days) that his major abdominal surgery prevented us from feeding him until his intestines healed. We were giving him fluids and nutrition through his IV lines, so he was not starving to death. I rushed to get my resident to examine his oozing wound, and after a CT scan and an x-ray, we discovered what we feared: His wound had opened down to the fascia, "dehiscence," as it is called. On top of this, he now had a bowel obstruction, causing his vomiting. His lack of mobility for the past five days had slowed his... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Satyr Play in Plato's SymposiumM. D. UsherIn the Symposium, Socrates jokingly declares that "the satyric—nay silenic—drama" of Alcibiades' drunken panegyric was perfectly clear to the guests that evening at Agathon's house (222d3-4).1 Though this statement implies an extended treatment of a theme, discussions of silenic elements in the dialogue have rarely ventured far beyond the overt comparison of Socrates to a Silenus or Marsyas figure in Alcibiades' speech (215a4-222b7).2 (...) Yet, as Paul Zanker has observed (1995, 38), "There is surely more than one aspect to the comparison of Socrates to Silenus." In fact, the final scenes of the Symposium are riddled with satyric motifs, many of which Plato inverts or otherwise adapts, in the pointed critique of wealth, beauty, and sexual attraction that he achieves in the character of Socrates.Let me begin defending this thesis with a Platonic analogy and suggest that if we look at the big letters first, we will be able to read the smaller ones more readily: Though it has only recently, and only in passing, been adduced as a source (Clay 2000, 74), much of the scene involving Alcibiades and Socrates is modeled on the myth of King Midas' capture of the satyr Silenus.3 While the extant sources for the Midas legend are disparate and fragmentary, an investigation into its literary provenance and the uses to which it was put in antiquity (section 1 of this essay) suggests that the encounter between Midas and Silenus was something of a literary set piece that had been used as a vehicle for popular wisdom and philosophic critique long before Plato's time. Indeed, in [End Page 205] reusing the story in just this fashion in his lost dialogue, the Eudemus,4 Aristotle highlights both its popularity and antiquity, describing it as "having been carried about on the lips of men for many years now."5The finer print (section 2) involves another source never previously adduced in discussions of the Symposium, Euripides' Cyclops, where we will consider both what is particular to that play (our only complete satyr drama) and what is typical of the genre.6 Cyclops was produced in the last five years of Euripides' life,7 when an impressionable Plato, that "nursling of Attic drama,"8 was in his early twenties.An awareness of the extent of Plato's use and adaptation of satyr lore in the Symposium is essential for a full appreciation of his philosophy of love, his technique as an author, and the purpose of the dialogue. Einstein once said that the secret to creativity is hiding one's sources. In constructing the final scenes of the Symposium, Plato is deeply unoriginal in precisely this sense. It would be well to emphasize at the start, however, that the satyric motifs adduced here—as legendary and mythic material—would have had a wide currency in many media, and one need not advance or defend arguments for strictly literary dependence. Indeed, it will be seen that the way Plato incorporates silenic elements into the Symposium is suggestive and indirect, though no less compelling, important, or even intentional for that reason. That Plato's purpose in including them is as apologetic as it is literary and philosophical is discussed in a concluding section where I attempt to bring some recent readings of Plato under one head. [End Page 206]I. The Capture of SilenusSome minor variants notwithstanding,9 the basic outline of this story is as follows: Silenus is captured while sleeping by Midas' henchmen, who have tricked him by spiking a river with wine; whereupon, in exchange for his release, Silenus agrees to reveal to Midas hidden wisdom about man and the nature of the world.10 Both the apprehension of the satyr while sleeping and the conversation that follows in the myth are adapted by Plato in the part of the Symposium where Alcibiades describes his unsuccessful romantic overtures toward Socrates. Having prevailed upon Socrates to come to dinner and spend the night, Alcibiades approaches the satyr-sage in bed and asks if he is sleeping (218c3). By Plato's inversion, however, it turns out that Socrates, unlike the... (shrink)

“Noverim me, noverim te.” – Saint Augustine, Confessions, 10.1.1. (397-400 AD). -/- What would and will an urban commons look like that is slowly and incrementally being re-socialized? How would that affect urban planning “now” and in times of crisis? How do we prepare for the likelihood of rolling similar crises with an eye on returning the urban commons to citizens? -/- There is the old adage that under capitalism, risk is always socialized and profit is always privatized. We are (...) seeing it now, under the COVID-19 crisis. The huge bailouts launched by governments are symptomatic of the crisis in political economy, just as they were post-2008. “Too big to fail” has sponsored monsters that refuse to back off without threatening the collapse of the entire system. Francisco Goya’s “The sleep of Reason produces monsters …” comes to mind. -/- Physical and immaterial culture, in our current Western civilisation, are intimately linked. Yet the focus for urban design is generally on the material or physical side, with the immaterial left to its own devices. Increasingly, urban design measures are merely ameliorative and aesthetic, with the larger share shaped by a political economy dictated by market ideology or “politicalology.” What transpires, nonetheless, is an immaterial commons that constitutes a public or private intellectual commons – often a mix of the two; but, in the case of domination by market ideology, the privatization of “general intellect” proceeds by abject appropriation. In such a technocratically driven model, subjective states become increasingly important. As Indian architect Balkrishna Vithaldas Doshi once said, “Smart cities are smart people.” -/- How might these two otherwise contiguous and synchronous systems be brought back into a properly civic-minded rapport with or without crisis-driven change? Are there alternate models for the urban commons? What measures might be put in place in advance, or as provisional intercessions? (shrink)

This paper examines the forms of life established through the visual governance of the Australian social security mobile app —the Express Plus Centrelink app. It is argued that the app exceeds established accounts of juridical and administrative power. The app involves a seeing that is not public, a responding that is not writing and a de-materialisation of an institution and its disciplinary apparatus. It is argued that the app creates proto-literate subjects that are required to respond to a real-time sequence (...) of images in a highly structured and circumscribed manner to become complicit in the digitalisation of their life. (shrink)

A comprehensive introduction to current research on the psychology of concept formation and use.

In Daniel Manus Pinkwater's quirkily illustrated book, The Big Orange Splot, a strange accident leads a man to change his life. The book presents an important claim that the existentialists and other philosophers have embraced: That the life of conformity is one that people ought to avoid, despite its attractiveness. Instead of living a life just like everyone else and fulfilling expectations that others have for us, our lives should resemble the transformed facades of all the homes on Mr. Plumbean's (...) street: reflections of our own, individual dreams. (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

This paper presents a new 'discontinuous' view of Popper's theory of corroboration, where theories cease to have corroboration values when new severe tests are devised which have not yet been performed, on the basis of a passage from The Logic of Scientific Discovery. Through subsequent analysis and discussion, a novel problem for Popper's account of corroboration, which holds also for the standard view, emerges. This is the problem of the Big Test : that the severest test of any hypothesis is (...) actually to perform all possible tests. But this means that Popper's demand for 'the severest tests' amounts simply to a demand for 'all possible tests'. The paper closes by considering how this bears on accommodation vs. prediction, with respect to corroboration. (shrink)

As a way to address both ominous and ordinary threats of artificial intelligence, researchers have started proposing ways to stop an AI system before it has a chance to escape outside control and cause harm. A so-called “big red button” would enable human operators to interrupt or divert a system while preventing the system from learning that such an intervention is a threat. Though an emergency button for AI seems to make intuitive sense, that approach ultimately concentrates on the point (...) when a system has already “gone rogue” and seeks to obstruct interference. A better approach would be to make ongoing self-evaluation and testing an integral part of a system’s operation, diagnose how the system is in error and to prevent chaos and risk before they start. In this paper, we describe the demands that recent big red button proposals have not addressed, and we offer a preliminary model of an approach that could better meet them. We argue for an ethical core that consists of a scenario-generation mechanism and a simulation environment that are used to test a system’s decisions in simulated worlds, rather than the real world. This EC would be kept opaque to the system itself: through careful design of memory and the character of the scenario, the system’s algorithms would be prevented from learning about its operation and its function, and ultimately its presence. By monitoring and checking for deviant behavior, we conclude, a continual testing approach will be far more effective, responsive, and vigilant toward a system’s learning and action in the world than an emergency button which one might not get to push in time. (shrink)

Philosophy: The Big Questions occupies a unique position among introductory texts in philosophy. Designed for a single-semester introductory course in philosophy, it includes both classic readings in philosophy and newer articles. Presents, in one volume, canonical and contemporary works in ethics, metaphysics, philosophy of religion, and epistemology. Topics discussed include knowledge, religion, freedom, morality, and the meaning of life. Serves as a comprehensive and compelling introduction to philosophy. Together with traditional readings it also presents non-traditional, feminist eadings from a continental (...) perspectives. (shrink)

Both clinical research and basic science rely on the epistemic practice of extrapolation from surrogate models, to the point that explanatory accounts presented in review papers and biology textbooks are in fact composite pictures reconstituted from data gathered in a variety of distinct experimental setups. This raises two new challenges to previously proposed mechanistic-similarity solutions to the problem of extrapolation: one pertaining to the absence of mechanistic knowledge in the early stages of research and the second to the large number (...) of extrapolations underpinning explanatory accounts. An analysis of the strategies deployed in experimental research supports the conclusion that while results from validated surrogate models are treated as a legitimate line of evidence supporting claims about target systems, the overall structure of research projects also demonstrates that extrapolative inferences are not considered definitive or sufficient evidence, but only partially justified hypotheses subjected to further testing. 1 Introduction2 Surrogate Models2.1 What exactly is a surrogate model?2.2 Why use surrogate models?3 Prior Validation of Surrogate Models3.1 The validation and ranking of surrogate models in the early stages of basic research3.2 The validation of surrogate models in later stages of basic research and in clinical research4 ‘Big Picture’ Accounts and the Extrapolations Underpinning Them4.1 The mosaic nature of mechanistic descriptions in basic science4.2 Challenges for mechanistic-similarity-based validation protocols5 Retrospective Testing of Extrapolated Knowledge5.1 Holistic confirmation5.2 Fallback strategies6 Conclusions. (shrink)

The Big Fix is, as Greider describes, “the utter folly of allowing a profit-driven industry to name its price, while quietly making over our public-health agenda in its own image”—the theme of the book. Written in an easy-to-understand, conversational manner targeted to the American consumer, The Big Fix is a comprehensive description of the commonly held views of critics of the pharmaceutical industry, although most of the points made are not novel. In eight chapters, each given a catchy descriptive title, (...) Greider does a good job of detailing the issues and citing well-known experts and critics of the industry, such as Marcia Angel and Thomas Bodenheimer, even though she does not always provide the exact sources of these citations for those academic types who may want to know more. (shrink)

This paper outlines the experience of four universities that collaborated on a pre-arrival shared reading project, the Big Read, in 2018/2019. They did so primarily to promote student engagement and retention and also to ease the transition into higher education, particularly for first-generation students, to promote staff connectedness, and to provide a USP for their institution. The paper covers all the associated processes, from isolating the respective aims of the collaborators to the choosing and sharing of a single agreed title. (...) In analysing the outcomes, recommendations are made for future cross-institutional projects of this kind. (shrink)

Some believe that evidence for the big bang is evidence for the existence of god. Who else, they ask, could have caused such a thing? In this paper, I evaluate the big bang argument, compare it with the traditional first-cause argument, and consider the relative plausibility of various natural explanations of the big bang.

Classic conceptions of model simplicity for machine learning are mainly based on the analysis of the structure of the model. Bayesian, Frequentist, information theoretic and expressive power concepts are the best known of them, which are reviewed in this work, along with their underlying assumptions and weaknesses. These approaches were developed before the advent of the Big Data deluge, which has overturned the importance of structural simplicity. The computational simplicity concept is presented, and it is argued that it is more (...) encompassing and closer to actual machine learning practices than the classic ones. In order to process the huge datasets which are commonplace nowadays, the computational complexity of the learning algorithm is the decisive factor to assess the viability of a machine learning strategy, while the classic accounts of simplicity play a surrogate role. Some of the desirable features of computational simplicity derive from its reliance on the learning system concept, which integrates key aspects of machine learning that are ignored by the classic concepts. Moreover, computational simplicity is directly associated with energy efficiency. In particular, the question of whether the maximum possibly achievable predictive accuracy should be attained, no matter the economic cost of the associated energy consumption pattern, is considered. (shrink)

The cosmic singularity provides negligible evidence for creation in the finite past, and hence theism. A physical theory might have no metric or multiple metrics, so a ‘beginning’ must involve a first moment, not just finite age. Whether one dismisses singularities or takes them seriously, physics licenses no first moment. The analogy between the Big Bang and stellar gravitational collapse indicates that a Creator is required in the first case only if a Destroyer is needed in the second. The need (...) for and progress in quantum gravity and the underdetermination of theories by data make it difficult to take singularities seriously. The singularity exemplifies the sort of gap that is likely to be closed by scientific progress, obviating special divine action. The apparent irrelevance of cardinality to practices of counting infinite sets in classical field theory and Fourier analysis is noted. Introduction The Doctrine of Creation and Its Warrant Cardinality and Sizes of Infinity Modern Cosmology and Creation Tolerance or Intolerance toward Singularities? Leibniz against Incompetent Watchmaker? Induction from Earlier Theories' Breakdown? Stellar Collapse Implies Theistic Destroyer Stacking the Deck for GTR Quantum Gravity Tends to Resolve Singularities Vicious God-of-the-Gaps Character Fluctuating or Inaccessible Warrant Big Bang Cosmology Not Especially Congenial to Faith CiteULike Connotea Del.icio.us What's this? (shrink)

We show that the big bang is a coordinate singularity for a large class of \ inflationary FLRW spacetimes which we have dubbed ‘Milne-like.’ By introducing a new set of coordinates, the big bang appears as a past boundary of the universe where the metric is no longer degenerate—a result which has already been investigated in the context of vacuum decay. We generalize their results and approach the problem from a more mathematical perspective. Similar to how investigating the geometrical properties (...) of the \ event horizon in Schwarzschild led to a better understanding of black holes, we believe that investigating the geometrical properties of the big bang coordinate singularity for Milne-like spacetimes could lead to a better understanding of cosmology. We show how the mathematics of these spacetimes may help illuminate certain issues associated with dark energy, dark matter, and the universe’s missing antimatter. (shrink)

The beginning of the journey -- What this book is about : using ideas from mathematics, economics, and physics to tackle the big questions in philosophy : what is real? what can we know? what is the difference between right and wrong? and how should we live? -- Reality and unreality -- On what there is -- Why is there something instead of nothing? the best answer I have : mathematics exists because it must and everything else exists because it (...) is made of mathematics, with an excursion into artificial intelligence -- Unfinished business -- Unfinished business from chapter two : the nature and purpose of economic models -- How Richard Dawkins got it wrong -- Why Dawkins's argument against intelligent design can't be right and a mathematical analysis of the arguments for the existence of God -- Belief -- Daydream believers -- Most beliefs are ill-considered because most false beliefs are costless to hold -- The next several chapters will explore the consequences of this observation before we return to the question of where our beliefs and knowledge come from -- Unfinished business -- Unfinished business from the preceding chapter : how color vision works, sound, and water waves, the sheer craziness of economic protectionism -- Do believers believe? -- Our ill-considered beliefs about religion : why I believe that almost nobody is deeply religious -- On what there obviously is -- Our ill-considered beliefs about free will, ESP, and life after death -- Diogenes's nightmare -- How is legitimate disagreement possible if you're arguing with someone who is as intelligent and informed as you are, shouldn't you put just as much weight on your opponent's arguments as your own? -- The fact that we persist in disagreeing is strong evidence that we don't really care what's true -- Knowledge -- Knowing your math -- Where mathematical knowledge comes from and logic and why evidence and logic are not enough -- Unfinished business -- Unfinished business from the preceding chapter : the tale of hercules and the hydra, with an excursion into the lore of very large numbers -- Incomplete thinking -- Godel's incompleteness theorem and what it doesn't say about the limits of human knowledge -- The rules of logic and the tale of a Potbellied pig -- The power of logical thought, with excursions into the most counterintuitive theorem in all of mathematics and the tale of a potbellied pig -- The rules of evidence -- What we can and can't learn from evidence, with excursions into the value of preschool and how internet porn prevents rape -- The limits to knowledge -- What physics does and doesn't tell us about what we can and cannot know -- Understanding Heisenberg's uncertainty principle -- Unfinished business -- The oddness of the quantum world and why it matters to game theorists -- Right and wrong -- Telling right from wrong -- Some hard questions about right and wrong and about life and death -- The economist's golden rule -- A rule of thumb for good behavior -- How to be socially responsible -- Putting the rule of thumb into practice -- On not being a jerk -- Goofus and gallant on immigration policy -- The economist on the playground -- Our ill-considered beliefs about fairness in the market place and in the voting booth, contrasted with our carefully considered beliefs about fairness on the playground -- Unfinished business -- How ancient talmudic scholars anticipated modern economic theory -- The life of the mind -- How to think -- Some basic rules for clear thinking, mostly about economics, but also about arithmetic, neurobiology, sin, and eschewing blather -- What to study -- Advice to college students : stay away from the English department and approach the philosophy department with caution, with an excursion into the remarkable life of Frank Ramsey. (shrink)

From the author of the international bestseller Plato Not Prozac!, a vital guide to the art of living. Professor Lou Marinoff's first book drew on the wisdom of the great philosophers to solve our everyday problems, launching a movement that restored philosophy to what it once was: useful in all walks of life. Now, in The Big Questions, he takes the concept to the next level, applying centuries of philosophy and great literature to answer central questions of modern existence. Urging (...) us not to accept victimhood as the by-product of modern life, Professor Marinoff uses specific case studies from his counseling practice to show how wisdom from the great thinkers can help us define our own philosophy, and thereby reclaim our sense of well-being. He asks and answers questions that go to the heart of the human condition: How do we know what is right? How can we cope with change? Why can't we all get along? And, most centrally, how can we use the centuries of wisdom that have come before us to help us answer these questions and feel at ease in the world? Accessible, entertaining, and profoundly useful, The Big Questions mixes wisdom from the great thinkers with specific case studies to illuminate how a shift in perspective can truly be life changing. (shrink)

where ds is the space-time interval between two events, a the scale factor representing the radius of the universe at a given time, and do is the line element of a space with constant curvature. The application of this metric to the field equations provides us with the Friedmann’s solutions, which are the heart of big bang cosmology. With the cosmological constant omitted, these solutions read.

As with the first edition, Utilitarian, Kantian, and Aristotelian viewpoints are all well represented here, and this second edition features updated sections throughout—including eighteen new readings—and an entirely new section on multiculturalism. Presents students with a unique focus on three main challenges to ethics: feminism, environmentalism, and multiculturalism Pedagogical focus on the 'big questions' motivates student interest Collects readings on all key traditional theoretical and practical questions in ethics.

Recent computer simulations indicate that a system ofn gravitating masses breaks up, even when the total energy is negative. As a result, almost any initial phase-space distribution results in a universe that eventually expands under the Hubble law. Hence Hubble expansion implies little regarding an initial cosmic state. Especially it does not imply the singularly dense superpositioned state used in the big bang model.

In the first section I outline the theory of abstraction, discussing first its con- ceptual basis, then its psychological-epistemological basis, and last its causal basis. My purpose throughout is to show how these bases, and thus the theory itself, were not only paramountly Aristotelian, but also eminently sensible. In the second section I draw the perspectivist account of vision within the bounds of the theory of abstraction and show stage by stage how that account unfolds coherently within those bounds. This (...) procedure should make clear that what the perspecti- vists actually offered was less a scientific theory of light or vision than a scientifi- cally justified world view. (shrink)

In this paper, we examine the relationships between three of the Big 5 personality traits and willingness to justify unethical behavior. We also consider the moderating relationship of four of the GLOBE cultural dimensions on the above relationship. We tested our propositions on a sample of 38,655 individuals from 23 different countries obtained from the latest data available from the World Values Survey Group’s survey. We found that conscientiousness and agreeableness were both negatively associated with willingness to justify unethical behavior. (...) We also conducted Hierarchical Linear Modeling and found significant interaction effects of selected GLOBE cultural dimensions on the relationships between personality traits and willingness to justify unethical behavior. We provide managerial implications of our findings, as well as suggestions for future research. (shrink)

There’s a long history of discussion of probability in philosophy, but objective chance separated itself off and came into its own as a topic with the advent of a physical theory - quantum mechanics - in which chances play a central, and apparently ineliminable, role. In 1980 David Lewis wrote a paper pointing out that a very broad class of accounts of the nature of chance apparently lead to a contradiction when combined with a principle that expresses the role of (...) chance in guiding belief. There is still no settled agreement on the proper response to the Lewis problem. At the time he wrote the article, Lewis despaired of a solution, but, although he never achieved one that satisfied him completely, by 1994, due to work primarily by Thau and Hall, he had come to think the problem could be disarmed if we fudged a little on the meaning of ‘chance’. I’ll say more about this below. What I’m going to suggest, however, is that the qualification is unnecessary. The problem depends on an assumption that should be rejected, viz., that using information about chance to guide credence requires one to conditionalize on the theory of chance that one is using. I’m going to propose a general recipe for using information about chance to guide belief that does not require conditionalization on a theory of chance at any stage. Lewis’ problem doesn’t arise in this setting. (shrink)

Leading scholars traverse the wide range of political action when "no" is in the picture, analyzing topics such as collective action, antisocialism, empirical science, the negative and the affirmative in Deleuze and Derrida, the "real" and the "clone," Native sovereignty, and Afropessimism.

This column is about a new alternative to standard Big Bang cosmology that reaches back in time to the era before the Big Bang in an effort to remove some of the arbitrary assumptions from the model. It's in part the work of Gabriele Veneziano, a theorist at CERN, and it is called pre-Big-Bang cosmology. We'll begin by reviewing the standard scenario of the origin of the universe.

Suppose we take a picture containing a full image of a duck and slice it right through, leaving some of the duck image on one slice and some of it on the other. How many duck images will we be left with? Received theories of pictorial representation presuppose that a surface cannot come to contain new images just by changing its physical relations with other surfaces, such as physical continuity. But as it turns out, this is in tension with received (...) theories’ approach to incomplete images. I address three views with respect to the circumstances in which incomplete images of X represent X. 1. A liberal, non-restrictive view: ‘Iff they meet relevant requirements posed by received theory of pictorial representation.’ 2. Moderate restrictions of this view and 3. A fully restrictive view. After investigating challenges for the liberal view, I end up supporting it. The main challenges rest on the fact that only the fully restrictive view can plausibly accommodate some principles that seem inherent to our theory of representation. For instance: only this view accommodates received theories’ presupposition that the representational properties of a surface depend on its configurational properties such that new images may appear on a surface only if its configurational properties have changed. Since the liberal view is overall more plausible than the restrictive view, I reject this presupposition and bear the consequences. (shrink)

The so-called "Big Typescript" is Wittgenstein's first attempt to publish in a book his collected thoughts since his return to Cambridge and to philosophical writing, thus correcting the "serious errors" (Wittgenstein) of his early work. Among the texts in Wittgenstein's estate, the "Big Typescript" is the one that, next to the "Logisch-Philosophische Abhandlung" (the "Tractatus") of 1918, appears to be the most "finished", with a table of contents structured in chapters and sections. It is, however, a fragment, without either title, (...) motto or conclusion. To Wittgenstein, it was important "that the thoughts in [the book] should progress from one subject to another in well-ordered consecutiveness." It is precisely this structure of the "Big Typescript", though ultimately rejected by Wittgenstein, which constitutes the immeasurable value of the text for the study of and as an introduction to Wittgenstein's thinking. (shrink)

This essay is a reading of Aristotle’s account in Meteorology I.14 of changes in local environmental conditions and its significance for Aristotle’s understanding of nature and change more generally. That account shows how local environments are complex bodies, and so change through habituation: the sedimentation of patterns of activity through repeated activity/change. In turn, this shows how the regularity of what is by nature is a matter of the relative stability of habits in the face of unceasing generation and destruction. (...) Strikingly, Aristotle then turns to the consequences of that account for human beings’ ability to comprehend changes in the environmental conditions of their activities. (shrink)

So tight was his perception of reality he could find no room in it for empty space; a position which led him to deny the reality of motion. ...

THE BIG QUESTIONS: A SHORT INTRODUCTION TO PHILOSOPHY tackles the tough issues and helps you form your own opinions while presenting the best philosophical ...

Recent work on Big Data and analytics reveals a tension between analyzing the role of emerging objects and processes in existing systems and using those same objects and processes to create new and purposeful forms of action. While the field of science and technology studies has had considerable success in pursuing the former goal, as Halford and Savage argue, there is an ongoing need to discover or invent ways to “do Big Data analytics differently.” In this commentary, I suggest that (...) attempts to produce new ways of working with Big Data and analytics might be hindered by how science and technology studies-influenced scholars have conceptualized assemblages. While these scholars have foregrounded objects’ relations within existing assemblages, new materialist philosophers draw attention to properties of objects that transcend those relations and might indicate opportunities for more creative or generative uses of Big Data and analytics. (shrink)

Explores ten questions that consider if religious beliefs can survive in the scientific age.