Economics today cannot predict the likely outcome of specific events any better than it could in the time of Adam Smith. This is Alexander Rosenberg's controversial challenge to the scientific status of economics. Rosenberg explains that the defining characteristic of any science is predictive improvability--the capacity to create more precise forecasts by evaluating the success of earlier predictions--and he forcefully argues that because economics has not been able to increase its predictive power for over two centuries, it (...) is not a science. (shrink)

We study how people attend to and memorize endings of events that differ in the degree to which objects in them are affected by an action: Resultative events show objects that undergo a visually salient change in state during the course of the event (peeling a potato), and non‐resultative events involve objects that undergo no, or only partial state change (stirring in a pan). We investigate general cognitive principles, and potential language‐specific influences, in verbal and nonverbal (...) event encoding and memory, across two experiments with Dutch and Estonian participants. Estonian marks a viewer's perspective on an event's result obligatorily via grammatical case on direct object nouns: Objects undergoing a partial/full change in state in an event are marked with partitive/accusative case, respectively. Therefore, we hypothesized increased saliency of object states and event results in Estonian speakers, as compared to speakers of Dutch. Findings show (a) a general cognitive principle of attending carefully to endings of resultative events, implying cognitive saliency of object states in event processing; (b) a language‐specific boost on attention and memory of event results under verbal task demands in Estonian speakers. Results are discussed in relation to theories of event cognition, linguistic relativity, and thinking for speaking. (shrink)

Since Darwin, the idea of psychological continuity between humans and other animals has dominated theory and research in investigating the minds of other species. Indeed, the field of comparative psychology was founded on two assumptions. First, it was assumed that introspection could provide humans with reliable knowledge about the causal connection between specific mental states and specific behaviors. Second, it was assumed that in those cases in which other species exhibited behaviors similar to our own, similar psychological causes (...) were at work. In this paper, we show how this argument by analogy is flawed with respect to the case of second‐order mental states. As a test case, we focus on the question of how other species conceive of visual attention, and in particular whether chimpanzees interpret seeing as a mentalistic event involving internal states of perception, attention, and belief. We conclude that chimpanzees do not reason about seeing in this manner, and indeed, there is considerable reason to suppose that they do not harbor representations of mental states in general. We propose a reinterpretation model in which the majority of the rich social behaviors that humans and other primates share in common emerged long before the human lineage evolved the psychological means of interpreting those behaviors in mentalistic terms. Although humans, chimpanzees, and most other species may be said to possess mental states, humans alone may have evolved a cognitive specialization for reasoning about such states. (shrink)

The purpose of this article is to demonstrate the epistemic position of psychiatry between the science of general laws in relation to frequently encountered generality and the science of specific events which is directed towards the particular. In this respect the development of the dichotomy of nomothetic and idiographic methodology from its generally forgotten neo-Kantian origins is delineated within the context of a historical-philosophical analysis and then its incorporation into psychology and psychopathology is reconstructed. In the (...) course of this analysis and also in the discussion of the currently accepted theories of analytical philosophy and critical rationalism it becomes clear that, in spite of widespread current opinions to the contrary, individualizing concept formation is an indispensable element in the methodological inventory of psychiatric science. (shrink)

The Sciences of the Qurʾān contain information about the process of Qurʾān and its structural characteristics, language and stylistic features, as well as statistical data on the content of the Qurʾān. This information, which contributes significantly to the understanding of the Qurʾān, is generally classified within the relevant narratives and the classifications are sometimes associated with verses. In this context, the way in which the Sciences of the Qurʾān explain the verses, which do not act solely on methodical premises, differs (...) from the Qurʾānic exegesis books. In the Sciences of the Qurʾān, the subject of revelation forms are classified within the frame of the narrations, and the 51st verse of the Sūrat al-Shūrā is frequently referred to. In other words, the related classifications are matched with the 51st verse of the Sūrat al-Shūrā. In the exegesis, this verse is handled more comprehensively considering its context and the literal possibilities. There are two remarkable comments about this verse in terms of its reflection in the revelation classifications. However, on the contrary, it is possible to encounter examples where the verse is subject to specific discussions. One of them belongs to Jār Allāh al-Zamakhsharī (d.538/1144) and the other to Nāṣir al-Dīn al-Bayḍāwī (d. 685/1286). When the exegesis of al-Zamakhsharī and al-Bayḍāwī are examined, it is seen that this verse is the subject of ru’yat Allah (seeing Allah) discussion between Muʿtazila and Ahl al-Sunnah and the classifications are made in this context. However, it is interesting to note that the classification of al-Zamakhsharī is more suitable for the perspective of the Sciences of the Qurʾān. In this study, the codes of the determinations made by al-Zamakhsharī and al-Bayḍāwī related to the 51st verse of Sūrat al-Shūrā was read on the commentaries. While al-Zamakhsharī explains this verse as a proof for the argument that God cannot be seen, al-Bayḍāwī develops an example of reactionary interpretation upon Zamakhsharī’s view. The Sciences of the Qurʾān (as a discipline), which opens a separate title to the ways of revelation, uses this verse as a template and takes it away from the discussion. In the study, the subjective dimensions of the discussion and classifications made in the context of this verse were evaluated. As a result, it is concluded that a classification similar to classification of al-Zamakhsharī has been made in the literature of the Sciences of the Qurʾān as it provides more comprehensive framework. Summary: During the period of revelation of the Holy Qurʾān not only the sunnah and actions of the Prophet which explained the Holy Qurʾān, but also various sources of information based on language and consultation, were used in order to understand the Holy Qurʾān. The first people introduced to the revelation used their own language/oratory skills, which were natural them, to understand the Qurʾān and were also able to observe the events and problems that brought about the revelation of the verses. These elements, used by those first people for understanding the Qurʾān, were readily available in their society. Therefore, understanding of the Qurʾān while the Prophet was still alive did not require a codification of those resources or treatment of the matter on a theoretical level. Subsequent generations mostly compensated the lack of those advantages by the use of the Sciences of the Qurʾān books penned individually after 2nd Century (A.H.), and those written systematically under the collective name "the Sciences of the Qurʾān" starting from the 6th century (A.H.). These works covered many subjects such as the beginning of the revelation, the accentuation of the Qurʾān, the physical development process of the Qurʾānic text, information based on observation as well as the tone and content of the Qurʾān and provided information details for Qurʾānic interpretations. Over time, this information was classified in the Sciences of the Qurʾān literature, organized under various relevant titles and enhanced with examples, numerical and qualitative information. One of the main topics of the Sciences of the Qurʾān is the subject of “revelation and its forms”. In the literature of the Sciences of the Qurʾān, the classifications made under this topic are generally associated with the verse 51 of Sūrat al-Shūrā. In this verse, the forms of communication between Allah (Jalla Jalaluhu) and the servant/prophet are categorized. The context of the verse 51 of the Sūrat al-Shūrā in the tafsīr literature is different from the context in the Sciences of the Qurʾān literature. As a matter of fact, while this verse is examined in detail with respect to the context, concept analysis, and the possibilities of i‘rāb (classical Arabic grammar), it is merely referred to in the Sciences of the Qurʾān. This is due to the fact that the determinations and classifications made in the Sciences of the Qurʾān are shaped mostly in the light of the historical context and narrations of the subject.It is also possible to encounter examples of tafsīr where the 51st verse is made the topic of detailed discussions. There are two remarkable comments about this verse in terms of its reflection in the revelation classifications. One of them belongs to Jār Allāh al-Zamakhsharī (d.538/1144) and the other belongs to Nāṣir al-Dīn al-Bayḍāwī (d. 685/1286). The tafsīr s of al-Zamakhsharī and al-Bayḍāwī make it clear that this verse is the subject of ru’yat Allah discussion between the Muʿtazila and Ahl al-Sunnah and the classifications are made accordingly. The fact that i‘rāb examinations of the two authors are similar and both took into account other linguistic possibilities despite their preferences, which also prove that the points of conflict are not literal. Al-Zamakhsharī thinks that this verse determines the way Allah speaks not only with his prophets but also with all people. According to al-Zamakhsharī, the 51st verse refers to the three forms of communication that takes place between God and any of His servants. Allah communicates with His servants; a) through inspiration, inspiration to heart or through dreams, b) by making His words heard through certain channels, c) by sending one of his angels as a messenger. In the verse, the first is expressed as revelation, the second is to speak behind a veil, and the third is to send a messenger. According to al-Zamakhsharī, Allah's inspiration to the mother of Moses, the dream that He showed to Abraham regarding the sacrificing of his son and inspiration of Psalms to David, all relate to the revelation concept mentioned in the first option. Al-Zamakhsharī believes that revelation from behind a veil is an adage. This adage can be compared to a king speaking with one of those at his service behind a veil/curtain, where the person hears the voice of the king but cannot see him. Allah only spoke to Moses and angels in that manner, and sent angels to speak to His other servants/prophets.As a response to al-Zamakhsharī, al-Bayḍāwī interpreted the verse concisely explaining the 'revelation' (وحيا) as a secret word that is quickly understood. Because, in terms of its nature, revelation is not a word made up of sound waves that come one after another to make words. In the verse, this word refers both to the Night Journey (Mi‘rāj) and the talk mentioned in the hadiths regarding the ru’yat Allah, and Allah speaking to Moses without Moses seeing Allah. However, in the verse min verâi ḥicâb/attributed to the word 'revelation 'من وراء حجاب makes it clear that the expression refers to a form of speech in which Allah is heard but not seen. Therefore, the word 'revelation' refers to a mutual talk and according to al-Bayḍāwī, this is proof that ru’yat Allah is possible. The fact that the classifications made in the Sciences of the Qurʾān literature agrees with the classification of al-Zamakhsharī, not al-Bayḍāwī. This result is closely related to the structural features of the Sciences of the Qurʾān in which authors strive to make general explanations that are beyond sectarian preferences and views. Understanding the verse as a conversation between Allah and man, and not between Allah and His prophet, provides a more comprehensive classification in terms of the use of revelations (not only the use of the word revelation) in the Qurʾān. Thus, the address that was made to Abraham in his dream, the revelation of to Moses' mother, and inspiration to our holy Prophet and other people can be interpreted according to this verse. In addition, the ru’yat Allah debate was excluded from the subject in the classifications made in the Sciences of the Qurʾān and implication of the verse was limited to the talks made in a worldly manner. (shrink)

”The last remnant of physical objectivity of space-time” is disclosed in the case of a continuous family of spatially non-compact models of general relativity. The physical individuation of point-events is furnished by the autonomous degrees of freedom of the gravitational field, which represent -as it were -the ontic part of the metric field. The physical role of the epistemic part is likewise clarified as embodying the unavoidable non-inertial aspects of GR. At the end the philosophical import of the Hole (...) Argument is substantially weakened and in fact the Argument itself dis-solved, while a specific four-dimensional holistic and structuralist view of space-time emerges, including elements common to the tradition of both substantivalism and relationism. The observables of our models undergo real temporal change: this gives new evidence to the fact that statements like the frozen-time character of evolution, as other ontological claims about GR, are model dependent. (shrink)

The present paper analyzes the regularities referred to via the concept 'self.' This is important, for cognitive science traditionally models the self as a cognitive mediator between perceptual inputs and behavioral outputs. This leads to the assertion that the self causes action. Recent findings in social psychology indicate this is not the case and, as a consequence, certain cognitive scientists model the self as being epiphenomenal. In contrast, the present paper proposes an alternative approach (i.e., the event-control approach) that (...) is based on recently discovered regularities between perception and action. Specifically, these regularities indicate that perception and action planning utilize common neural resources. This leads to a coupling of perception, planning, and action in which the first two constitute aspects of a single system (i.e., the distal-event system) that is able to pre-specify and detect distal events. This distal-event system is then coupled with action (i.e., effector-control systems) in a constraining, as opposed to 'causal' manner. This model has implications for how we conceptualize the manner in which one infers the intentions of another, anticipates the intentions of another, and possibly even experiences another. In conclusion, it is argued that it may be possible to map the concept 'self' onto the regularities referred to in the event-control model, not in order to reify 'the self' as a causal mechanism, but to demonstrate its status as a useful concept that refers to regularities that are part of the natural order. (shrink)

The present paper analyzes the regularities referred to via the concept 'self.' This is important, for cognitive science traditionally models the self as a cognitive mediator between perceptual inputs and behavioral outputs. This leads to the assertion that the self causes action. Recent findings in social psychology indicate this is not the case and, as a consequence, certain cognitive scientists model the self as being epiphenomenal. In contrast, the present paper proposes an alternative approach (i.e., the event-control approach) that (...) is based on recently discovered regularities between perception and action. Specifically, these regularities indicate that perception and action planning utilize common neural resources. This leads to a coupling of perception, planning, and action in which the first two constitute aspects of a single system (i.e., the distal-event system) that is able to pre-specify and detect distal events. This distal-event system is then coupled with action (i.e., effector-control systems) in a constraining, as opposed to 'causal' manner. This model has implications for how we conceptualize the manner in which one infers the intentions of another, anticipates the intentions of another, and possibly even experiences another. In conclusion, it is argued that it may be possible to map the concept 'self' onto the regularities referred to in the event-control model, not in order to reify 'the self' as a causal mechanism, but to demonstrate its status as a useful concept that refers to regularities that are part of the natural order. (shrink)

The aim of this paper is to investigate the ascription of probabilities in a causal model of an episode in the history of science. The aim of such a quantitative approach is to allow the implementation of the causal model in a computer, to run simulations. As an example, we look at the beginning of the science of magnetism, “explaining” — in a probabilistic way, in terms of a single causal model — why the field advanced in China (...) but not in Europe (the difference is due to different prior probabilities of certain cultural manifestations). Given the number of years between the occurrences of two causally connected advances X and Y, one proposes a criterion for stipulating the value pY/X of the conditional probability of an advance Y occurring, given X. Next, one must assume a specific form for the cumulative probability function pY/X(t), which we take to be the time integral of an exponential distribution function, as is done in physics of radioactive decay. Rules for calculating the cumulative functions for more than two events are mentioned, involving composition, disjunction and conjunction of causes. We also consider the problems involved in supposing that the appearance of events in time follows an exponential distribution, which are a consequence of the fact that a composition of causes does not follow an exponential distribution, but a “hypoexponential” one. We suggest that a gamma distribution function might more adequately represent the appearance of advances. (shrink)

The Theory of Event Coding (TEC) is a new framework for understanding interactions between perception and action. We are concerned that the theory is underspecified, showing that it can easily be used to make exactly opposite predictions. Precise specification of the time course of activation and binding is needed to make the theory useful for understanding the perception-action interface.

It is the thesis of this paper that the term scientific law can and should mean in the social sciences exactly what it means in any of the other sciences. There seems to be considerable agreement among scientists as well as others that a scientific law is a generalized and verifiable statement, within measurable degrees of accuracy, of how certain events occur under stated conditions. If I were to attempt a more specific statement I would say that a (...) law is a group of verbal or mathematical symbols designating an unlimited number of defined events in terms of a limited number of reactions so that the performance of specified operations always yields predictable results within measurable limits. (shrink)

Beliefs like the Gambler's Fallacy and the Hot Hand have interested cognitive scientists, economists, and philosophers for centuries. We propose that these judgment patterns arise from the observer's mental models of the sequence-generating mechanism, moderated by the strength of belief in an a priori base rate. In six behavioral experiments, participants observed one of three mechanisms generating sequences of eight binary events: a random mechanical device, an intentional goal-directed actor, and a financial market. We systematically manipulated participants’ beliefs about (...) the base rate probabilities at which different outcomes were generated by each mechanism. Participants judged 18 sequences of outcomes produced by a mechanism with either an unknown base rate, a specified distribution of three equiprobable base rates, or a precise, fixed base rate. Six target sequences ended in streaks of between two and seven identical outcomes. The most common predictions for subsequent events were best described as pragmatic belief updating, expressed as an increasingly strong expectation that a streak of identical signals would repeat as the length of that streak increased. The exception to this pattern was for sequences generated by a random mechanical device with a fixed base rate of.50. Under this specific condition, participants exhibited a bias toward reversal of streaks, and this bias was larger when participants were asked to make a dichotomous choice versus a numerical probability rating. We review alternate accounts for the anomalous judgments of sequences and conclude with our favored interpretation that is based on Rabin's version of Tversky & Kahneman's Law of Small Numbers. (shrink)

The problem of evil is the problem of reconciling the world's afflictions with the fundamental attributes and justice of God. Throughout their lives people encounter painful events originating from nature and other individuals. Furthermore, it is believed that God created everything, particularly in divine religions. Scholars and thinkers have debated for centuries why an omniscient, omnipotent, just, and compassionate God would create evil. The problem of evil is sometimes employed by atheists as evidence against religion, and at times as (...) philosophical proof for the absence of God. Nowadays, it exerts a profound impact on people's beliefs within social media platforms. This article aims to address doubts and objections surrounding the problem of evil. Numerous studies have been conducted on this current issue. The subject, which is basically examined as natural and moral evil in the philosophy of religion, has been examined under the titles such as justice and cruelty, goodness and evil, will and power in classical theology. In this study, the subject is examined in terms of the relationship between the subject of evil and its object, and attention is drawn to the role of man in the formation of evil. In this context, a general overview of the problem of evil is presented in the introduction. The second section delves into how the problem of evil is approached in philosophical and theological traditions, specifically examining the viewpoints of classical kalam schools. In the later parts of the study, the subject has been tried to be reinterpreted under different titles. Within this framework, it is suggested that some doubts and questions about the problem of evil arise from a lack of understanding of religion, while others stem from interpretations perceived as religious within the tradition. To propose a solution to the problem, the concept of God, known for its power and authority in classical times, should be reevaluated. In the context of Islam, God should be considered as an entity possessing complete knowledge, absolute will and power, and creating the universe for goodness, possesses justice and mercy and bestows numerous blessings upon humanity. This perspective finds ample support in the verses of the Qur'an. The problem of evil sometimes emerges from misconceiving the relationship between God and nature as equivalent to a God-human relationship. However, God designed the universe's order to support the emergence of life in nature and make it conducive to the lives of all living beings, particularly humans. Natural phenomena and events unfold by the laws set by Allah. Evils such as diseases, fires, earthquakes, floods, storms, volcanic eruptions, rain, and lightning are not events directly orchestrated by God to harm humans. The harm they cause is primarily a result of humans' negative interactions with nature. Precautions can mitigate these harms. Yet, humans who pollute air, water, and forests and build poorly located structures hastily attribute the resulting evils to God. A careful examination of the numerous blessings in nature underscores that the universe was created by God as a benevolent order. God created humanity to undergo tests within such a world, aiming for human happiness in both this world and the hereafter. Thus, the entirety of God's will be goodness. Evil, conversely, arises from humanity's exercise of free will and the potential to commit malevolent acts. Consequently, evil stems from human interactions with nature and fellow beings. Destiny is another frequently misconstrued aspect. It refers to the natural and moral laws established by Almighty Allah to govern the order of nature and human existence. Destiny presents a realm of possibilities and does not coerce anyone's actions. To address the problem of evil, the portrayal of God, whose sole intent is good, must be reconstructed. Additionally, concepts like testing, fate, death, and sustenance need to be reinterpreted in alignment with this conception. Furthermore, methods that facilitate the acquisition of accurate religious information through social media should be developed to suit contemporary requirements. (shrink)

The purpose of this study was to explore rural and provincial students' conceptualizations of nature in Colombia alongside the science education offered in their school communities. Students' perceptions of nature were produced from interviews that revolved around a focusing event and two eliciting devices to document their views about home, school science, and nature. Eighteen students from two urban and one provincial school communities were invited to participate in an interview. An anthropological approach to education allowed for case (...) descriptions in urban and provincial settings in a northeastern region of Colombia, South America. The findings specifically reflect how multiple worldviews correlate with the framework of school science. (shrink)

Among the works of the ancient Greek satirist Lucian of Samosata, well-known for his scathing and obscene irony, there is the novel True History. In this work Lucian, being in an intense satirical mood, intended to undermine the values of the classical world. Through a continuous parade of wonderful events, beings and situations as a substitute for the realistic approach to reality, he parodies the scientific knowledge, creating a literary model for the subsequent writers. Without doubt, nowadays, Lucian’s large (...) influence on the history of literature has been highlighted. What is missing is pointing out the specific characteristics that would lead to the placement of True History at the starting point of Science Fiction. We are going to highlight two of these features: first, the operation of “cognitive estrangement”, which aims at providing the reader with the perception of the difference between the convention and the truth, and second, the use of strange innovations (“novum”) that verify the value of Lucian’s work by connecting it to historicity. (shrink)

A tension runs through the lucidly militant work of Alain Badiou. It takes various shapes, such as the tension between the rigorous ontology of mathematics and the structures of narrative, or between fiction and argument, image and formula, poem and matheme, or Anglo-American analytic rationalism and continental lyricism. However, the shape of that tension that interests me most is between the triumphant banishing of theology via mathematics and its perpetual recurrence in his thought. For all Badiou’s efforts to dismiss theology (...) as the philosophy of the ‘One’, for all his efforts to read Pascal, Kierkegaard or Paul as exemplars of the ‘event’ without buying into the belief system they purvey, for all his dismissals of the pious myth or fabulous core of Christianity, it seems as though he cannot avoid theology. The question then is whether this philosopher who is ‘rarely suspected of harbouring Christian zeal’ may actually provide an insight or two into theology. The texts on which I base my reading are Being an Event, the short book on Paul, Logiques des Mondes, especially the section on Kierkegaard, and parts of the disparate collection, Theoretical Writings. A rather formidable collection, to say the least. In what follows I begin by considering the absolute blockage of theology in Badiou’s philosophy, specifically through his banishment of the One. And yet, despite his best efforts to seal his system against theology, it has an uncanny knack of returning. I am particularly interested in the way theology has a ghostly presence in what appears for all the world like a fifth ‘procedure of truth’ (alongside the four pillars of art, science, politics and love), in his enthusiastic affirmations of Pascal and Kierkegaard, and the play between fable and truth in his engagement with the apostle Paul. (shrink)

Elman (2009) proposed that the traditional role of the mental lexicon in language processing can largely be replaced by a theoretical model of schematic event knowledge founded on dynamic context-dependent variables. We evaluate Elman’s approach and propose an alternative view, based on dual coding theory and evidence that modality-specific cognitive representations contribute strongly to word meaning and language performance across diverse contexts which also have effects predictable from dual coding theory.

The dissertation examines the strategy of critical legitimation operative in contemporary social and political theory. Its primary thesis is that the historical emergence of critical discourse must be understood within the context of two events of the late eighteenth and early nineteenth centuries: the philosophical encounter with the rise of modern natural science, and the formation of a bourgeois intellectual elite and its essentially moral opposition to the absolutist state. These events produce a strategy of critical legitimation (...) that combines the vocabularies of mathematical objectivity and juridical normativity. ;This thesis is defended through a reading of several texts of Kant and Hegel, wherein two modes of the strategy are discerned. In Kant there is found the strategy of expropriation, or the iterative acquisition of the object of discourse, whilst in Hegel one finds a strategy of appropriation or systematic acquisition. Both modes serve to constitute the various forms of critical discourse in their specific theorization of the objects and themes of social and political inquiry. (shrink)

Advancements in computing, instrumentation, robotics, digital imaging, and simulation modeling have changed science into a technology-driven institution. Government, industry, and society increasingly exert their influence over science, raising questions of values and objectivity. These and other profound changes have led many to speculate that we are in the midst of an epochal break in scientific history. -/- This edited volume presents an in-depth examination of these issues from philosophical, historical, social, and cultural perspectives. It offers arguments both for (...) and against the epochal break thesis in light of historical antecedents. Contributors discuss topics such as: science as a continuing epistemological enterprise; the decline of the individual scientist and the rise of communities; the intertwining of scientific and technological needs; links to prior practices and ways of thinking; the alleged divide between mode-1 and mode-2 research methods; the commodification of university science; and the shift from the scientific to a technological enterprise. Additionally, they examine the epochal break thesis using specific examples, including the transition from laboratory to real world experiments; the increased reliance on computer imaging; how analog and digital technologies condition behaviors that shape the object and beholder; the cultural significance of humanoid robots; the erosion of scientific quality in experimentation; and the effect of computers on prediction at the expense of explanation. -/- Whether these events represent a historic break in scientific theory, practice, and methodology is disputed. What they do offer is an important occasion for philosophical analysis of the epistemic, institutional and moral questions affecting current and future scientific pursuits. (shrink)

Using an ethnographic case study, this research examines three competing hypotheses of how a community acts. The study attempts to reconstruct the events that led various actors in the community to seek the formation of an industrial base as an alternative economic source for the community. The roles of unique events, specific persons and particular strategies in the formation of the industrial base are examined. It was found that unique events play a very important role in (...) the community's concern over economic alternatives to agriculture and their success in securing such alternatives. These events were also important to key individuals within the community, placing them in positions to act in the industrial base formation. Strategies of community action used in the industrial base formation and since that time were found to be consistent with the “centralized weak-tie network” hypothesis of action or ganization. This type of community action organization seems to be very effective at the community level but tends to be very exclusionary of the community population as a whole. (shrink)

What are the semantic representations that underlie language production? We use structural priming to distinguish between two competing theories. Thematic roles define semantic structure in terms of atomic units that specify event participants and are ordered with respect to each other through a hierarchy of roles. Event structures instead instantiate semantic structure as embedded sub‐predicates that impose an order on verbal arguments based on their relative positioning in these embeddings. Across two experiments, we found that priming for datives depended on (...) the degree of overlap in event structures. Specifically, while all dative structures showed priming, due to common syntax, there was a boost for compositional datives priming other compositional datives. Here, the two syntactic forms have distinct event structures. In contrast, there was no boost in priming for dative light verbs, where the two forms map onto a single event representation. On the thematic roles hypothesis, we would have expected a similar degree of priming for the two cases. Thus, our results support event structural approaches to semantic representation and not thematic roles. (shrink)

An obvious feature of the development of the philosophy of science during the past decades is an increasing specialization and fragmentation that have led to reduced impact of philosophy of science outside the sphere of its own discipline. It seems that philosophy of science and scientific research are moving away from each other. The major question of this article is how can reconnect these two?To answer this question I will try to highlight some events especially in (...) the fields of social sciences that researchers are involved in discussions, generally related to philosophy of science, not in an abstract and isolated way, but in a way that is completely intertwined in their research practices. Unfortunately, this phenomenon has not been properly considered by philosophers of science and has remained more as a subject in the field of social sciences, specifically research methodology. It seems that if philosophy of science enters into dialogue with social sciences, we can expect the revival of the philosophy of general science. In this article, I try to show the signs of this phenomenon in cognitive psychology. I will first turn to one of the most influential theories in the cognitive sciences, expertise theory. After reviewing the important theories of expertise and their differences, in the next step I will discuss the seemingly opposing theories in this field and their efforts to find common ground. Then I will review the current movement in cognitive psychology, which I call the “integration model” stream. After a critical review and categorization of these models, I will show that in a broader view in social science, we can realize the meta-theoretical issues that are a good room for a dialogue between philosophy of science and scientific research. In the end, I will point out the horizons that this view opens to the revival of philosophy of general science. (shrink)

This article deals with the question of a proper methodological strategy of interaction between psychology and neuroscience. In recent decades, due to the intensive development of neurosciences, the interaction of the two disciplines has been dominated by the theme of the search for so-called neural correlates of mental phenomena and events. Meanwhile, in recent literature, an opinion has been expressed about the possibility of a genuine integration of psychology and neuroscience. In this work, the author critically examines three recent (...) projects of reduction of psychology to neuroscience: the conception of integration of functional and mechanistic types of explanation by the philosophers Gualtero Piccinini and Carl Craver, the project of the neurophilosophy by the famous philosopher Patricia Churchland, and the reductionist hypothesis of one of the leaders of the modern science of consciousness Stanislas Dehaene. The author shows that at the present moment there are no grounds for reduction of psychology to neuroscience. Moreover, it is noted that in the absence of real alternatives for specific empirical investigations even opponents of the strategy of identification of neural correlates of mental phenomena and events are forced to appeal to it in their works. It is argued that the currently dominating practice of identification of neural correlates of mental, cognitive and conscious phenomena will retain its leading methodological status in the interaction between psychologists and neuroscientists. (shrink)

This paper explores R.G. Collingwood's argument that a new type of archaeology, taking fairy tales as its subject matter, is capable of expanding our historical knowledge of cultural practices. I suggest that it is interesting from the point of view of current discussions about cosmopolitanism and communitarianism and also for understanding past practices, such as magic, without having to attribute failure of reasoning or a breakdown in mentality to the participants, as Le Roy Ladurie does. Collingwood maintains that the natural (...) sciences are unsuitable models for the human sciences. They are incapable of distinguishing between the inside and outside of an event. They do not acknowledge that a historical process is very different from a natural process. In addition, the natural sciences cannot take account of the self-critical or criteriological aspect of thought. Human sciences are criteriological in that they are capable of taking individuals who formulate intentions and purposes, and employ criteria to judge the extent to which they succeed or fail. Thought is self-critical, and to say that a certain thought conforms to a type of neurosis is to ignore its criteriological character. The implication is that when magic is viewed as bad science, or a failure in rationality, the criteriological character of magical thought is being denied. When magic is understood as an integral part of fairy tales and as a practice designed to arouse specific emotions to be channelled into practical effects, such as to inspire courage in warriors in battle, its character as purposive and intentional thought is being acknowledged. (shrink)

During the second half of the last century, the importance of serendipitous events in scientific frameworks has been progressively recognized, fueling hard debates about their role, nature, and structure in philosophy and sociology of science. Alas, while discussing the relevance of the topic for the comprehension of the nature of scientific discovery, the philosophical literature has hardly paid attention to the cognitive significance of serendipity, accepting rather than examining some of its most specific features, such as its (...) game-changing effect, the unexpectedness of its occurrence, and its affinity with the concept of “luck”. Thus, in this paper we aim at analyzing these characteristics in the light of their cognitive implications in the recognition, performance, and possible stimulation of serendipitous events in relation to scientific discoveries. (shrink)

The investigation is devoted to the problem of formal representation of logical structure and ontological commitments of natural language event sentences. The specificity of ontological commitments problem with regard to natural and formal languages is shown. The alternative approaches to the formal representation of event sentences (argument approach, davidsonian and neodavidsonian approaches, operator approach) are characterized with respect to their key features from formal logical and ontological points of view. The difference in the logical structure of sentences expressing events (...) by verb phrases and by nominalization is depicted. The role of a paraphrase in formal representation of natural language phenomena is discussed, as well as the notions of “hermeneutic" and “revolutionary" approaches in logic-semantical analysis introduced by J. Burgess and G. Rosen. It is shown that the neodavidsonian approach with regard to verb phrases is an example of “revolutionary" approach because it changes the original logical structure of natural language sentences. The analysis of ontological commitments shows that there is no bound event variable in the logical structure of verb phrases at sentence level but it's included in the internal semantic structure of a verb. The possible ways to the logical interpretation of the natural language mechanism of the dynamic shift between verb-based and nomi- nalized sentences are outlined. (shrink)

In a series of 5 experiments, we investigated whether the processing of phonologically assimilated utterances is influenced by language learning. Previous experiments had shown that phonological assimilations, such as /lean#bacon/→ [leam bacon], are compensated for in perception. In this article, we investigated whether compensation for assimilation can occur without experience with an assimilation rule using automatic event-related potentials. Our first experiment indicated that Dutch listeners compensate for a Hungarian assimilation rule. Two subsequent experiments, however, failed to show compensation for assimilation (...) by both Dutch and Hungarian listeners. Two additional experiments showed that this was due to the acoustic properties of the assimilated utterance, confirming earlier reports that phonetic detail is important in compensation for assimilation. Our data indicate that compensation for assimilation can occur without experience with an assimilation rule, in line with phonetic-phonological theories that assume that speech production is influenced by speech-perception abilities. (shrink)

This paper is the English translation and adaptation of my inaugural lecture in Amsterdam for the Chair Anthropology of Everyday Ethics in Health Care. I argue that the challenges in health care may look daunting and unsolvable in their scale and complexity, but that it helps to consider these problems in their specificity, while accepting that some problems may not be solved but have become chronic. The paper provides reflections on how to develop a scientific approach that does not aim (...) to eradicate bad things but explores ways in which to live with them. Crucial in this quest is the attention to how we conceptualize problems, and whether this is specific enough for addressing present day concerns. I propose an anthropology of everyday ethics as a way to study people’s everyday ways of handling a variety of goods in practice. I draw specific attention to exploring aesthetic values in everyday life amongst these, values that are used abundantly to qualify events in everyday life but rarely theorized in philosophy or social science. (shrink)

Research on language processing has shown that the disruption of conceptual integration gives rise to specific patterns of event-related brain potentials —N400 and P600 effects. Here, we report similar ERP effects when adults performed cross-domain conceptual integration of analogous semantic and mathematical relations. In a problem-solving task, when participants generated labeled answers to semantically aligned and misaligned arithmetic problems, the second object label in misaligned problems yielded an N400 effect for addition problems. In a verification task, when participants judged (...) arithmetically correct but semantically misaligned problem sentences to be “unacceptable,” the second object label in misaligned sentences elicited a P600 effect. Thus, depending on task constraints, misaligned problems can show either of two ERP signatures of conceptual disruption. These results show that well-educated adults can integrate mathematical and semantic relations on the rapid timescale of within-domain ERP effects by a process akin to analogical mapping. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:JOSEPH MARGOLIS THE LOGIC AND STRUCTURES OF FICTIONAL NARRATIVE The fascination of fiction and narrative is plainly immense, sind current analyses are notably fresh and ingenious. But ifone were to venture a compendious account of die most strategic conceptual claims bearing on those notions, they might well be captured by the following three theses: (i) that fiction and narrative are logically quite distinct, without necessarily excluding one anodier; (ii) (...) that fictional worlds are no worlds at all; they are merely imagined to exist; and (iii) that events, whether actual or imagined, cannot be specified independently of the categories by which we identify them as the events they are, categories subject to change over time. What is intriguing about mese three claims is that they strike the ear as utterly commonplace and obvious. But that is dieir strength. For it would be a great convenience if the relevant puzzles generated by analytic philosophy, hermeneutics, the new narratology, semiotics and the like could be resolved, convincingly, by appeal to die implications of these diree homely trudis. In addition, diey affect one another in a rather complicated way, and, taken joindy, easily expose certain influential false starts. The import of (iii), for example, is notably ignored in die otherwise powerful analysis of narrative afforded by Gérard Genette. Its bearing on (i) utterly undermines the explicit dualism favored by Seymour Chatman, who is clearly influenced by Genette himself. The failure to mark die force of (i) and its analogue regarding poetry is most obvious in I. A. Richards's contrast between poetry and science, the work of the Prague circle, Northrop Frye's Anatomy of Criticism, and such recent speech-act theories of poetry and fiction as those proposed by Richard Ohmann, Monroe Beardsley, and Mary Louise Pratt. The corresponding failure widi respect to (ii) is clear in John Searle's theory of reference and in die ontological claims made by Nicholas Wolterstorff. The connection between (i) and (ii) is muddled most famously by G. E. Moore. These charges suggest die quarrelsome promise of the intended economy. But, as we shall see, they also lead in the direction of a more constructive theory of texts and their interpretation and of die constraints of narrative and style diat affect fiction. 162 Joseph Margolis163 Fiction, we say, differs from reality as well as from legend. But in speaking thus, we betray an understandable confidence that these three kinds of"world"— or, these three worlds — are conceptually well-behaved and open to straightforward demarcation. Once more, we slip altogether too easily between talking about certain worlds and about the narrative accounts by which we do so. What distinguishes fictional reference? we ask, and what is a fictional world? The best way to proceed here is to begin with strong intuitions and to trace dieir systematic consequences in order to test how far they are unassailable — or whether and where they must yield to others that are more accommodating. One particularly promising equivocation is the following. We speak of fictional worlds as possible (but not actual) worlds; but even if what is possible in a fictional world corresponds (in some sense) to what is possible in the actual world, it is not, as such, a possibility of or at the actual world. The "possible worlds" idiom is fundamentally and doubly equivocal. For, a "possible world" signifies either what is merely logically or conceptually compossible, or what (under suitably referential, predicative, causal, and similar constraints) is compossible specifically with respect to the actual world (or some part of it). Certainly, Balzac's La Cousine Bette "presents" an imaginary world that is internally coherent and compossible. One might even say, ignoring its fictive nature, diat such a world — or events very much like those of the story — is compossible with a certain portion of the actual world of nineteenth-century France. But Lewis Carroll's Alice in Wonderfond, though it scrupulously presents a coherent world of compossible events, does not present a world compossible with the actual world. And, on certain views at least, Thomas Mann's The Transposed Heads presents a possible world that is a conceptual impossibility. There is, however, no need to quarrel about particular cases... (shrink)

Different researchers from psychology and neuroscience state that navigation involves the manipulation of cognitive maps and graphs. In this paper, I will argue that navigating – specifically, journey planning – can be conceived as a process of practical reasoning. First, I will argue that journey planning constitutes a case of means-end reasoning involving inferences with cartographic representations. Then, I will argue that the output of journey planning functions as an instrumental belief in means-end reasoning. More specifically, journey planning can deliver (...) an instrumental rule that plays a normative role in spatial cognition. This approach motivates a pluralist conception of practical reasoning, stating that inferences might run through different representational formats and processes. (shrink)

In light of the phenomenon of multiple realizability, many philosophers wanted to preserve the mind-brain identity theory by resorting to a “narrow reductive strategy” whereby one (a) finds mental properties which are (b) sufficiently narrow to avoid the phenomenon of multiple realization, while being (c) explanatorily adequate to the demands of psychological theorizing. That is, one replaces the conception of a mental property as more general feature of cognitive systems with many less general properties, for example, replacing the conception of (...) pain as a general property across different species with a number of species-specific kinds of pain. Many critics focused on (c), arguing that species-specific properties are not explanatorily adequate because they do not capture what is common in pain across species. In this paper I focused on (b). I argued that if one carries the narrow reductive strategy out in such a way to avoid all multiple realizability that occurs within a species, for example, accommodating individual differences by postulating a more narrow pain-relative-to-an-individual-at-a-time, then the result is for all intents and purposes a claim about tokens and not types or properties at all (the position is now about individuals having properties at times, a structured token event). I also added an important point about explanation, viz., that properties-relative-to-individuals-at-times would not serve the explanatory goals of science by failing to generalize to other individuals. (shrink)

I describe and discuss one particular dimension of disagreement in the philosophical literature on episodic memory. One way of putting the disagreement is in terms of the question as to whether or not there is a difference in kind between remembering seeing x and remembering what x looks like. I argue against accounts of episodic memory that either deny that there is a clear difference between these two forms of remembering, or downplay the difference by in effect suggesting that the (...) former contains an additional ingredient not present in the latter, but otherwise treating them as the same thing. I also show that a recent ‘minimalist’ approach to episodic memory (Clayton & Russell in Neuropsychologia 47 (11): 2,330–2,340, 2009; Russell & Hanna in Mind & Language 27 (1): 29–54, 2012) fails to give a satisfactory explanatory account of the difference between the two types of remembering. I finish by sketching an alternative approach to episodic memory, which turns on the idea that episodic recollection recruits a specific form of causal reasoning that provides for a concrete sense in which remembered events are remembered as belonging to the past. (shrink)

This commentary addresses three points. First, it is argued that the common coding principles, as developed in the target article, may supplement rather than replace stage views of human information processing. Second, the issue of the properties of an event code is briefly discussed. It is concluded that much remains to be specified so as to allow critical tests. Finally, the question of the limits of common coding is raised. It may be particularly relevant to direct perception and action coupling (...) but less useful for the analysis of cognitive skills. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Sighted speakers of different languages vary systematically in how they package and order components of a motion event in speech. These differences influence how semantic elements are organized in gesture, but only when those gestures are produced with speech, not without speech. We ask whether the cross-linguistic similarity in silent gesture is driven by the visuospatial structure of the event. We compared 40 congenitally blind adult native speakers of English or Turkish to 80 sighted adult speakers as they described three-dimensional (...) motion scenes. We found an effect of language on co-speech gesture, not on silent gesture—blind speakers of both languages organized their silent gestures as sighted speakers do. Humans may have a natural semantic organization that they impose on events when conveying them in gesture without language—an organization that relies on neither visuospatial cues nor language structure. (shrink)

This article explains the methodology behind our PhD thesis, that describes how five Southern European Communist parties2 reacted, through their party press, to the events that took place in Eastern Europe from 1989 to 1991, such as the Fall of the Berlin Wall in November 1989, the deposition of the Romanian dictator in December 1989 or the Soviet Coup d’etat in August 1991. We describe an interdisciplinary methodology which combines elements of history of the present, historiography of Communism and (...) communication sciences. We will summarize our study, after explaining our methodology and adapting the framing party press for the purposes of this work. Finally, we’ll draw the conclusions after presenting one specific case: the interpretations provided by each party following the parliamentary elections of June 1989 in Poland. (shrink)

Speakers of different languages (e.g., English vs. Turkish) show a binary split in how they package and order components of a motion event in speech and co‐speech gesture but not in silent gesture. In this study, we focused on Mandarin Chinese, a language that does not follow the binary split in its expression of motion in speech, and asked whether adult Chinese speakers would follow the language‐specific speech patterns in co‐speech but not silent gesture, thus showing a pattern akin (...) to Turkish and English adult speakers in their description of animated motion events. Our results provided evidence for this pattern, with Chinese—as well as English and Turkish—speakers following language‐specific patterns in speech and co‐speech gesture but not in silent gesture. Our results provide support for the “thinking‐for‐speaking” account, namely that language influences thought only during online, but not offline, production of speech. (shrink)

From the perspective of semiotics, or a science of signs, communication exceeds the usual verbal mode of expression and covers extra linguistic modes. This paper addresses a specific communicative system represented by Tarot pictures. The semiotic approach not only presents Tarot as exceeding its function as a game but also de-mystifies, in part, its occult side by virtue of the analysis of semiosis, or the action of signs in nature. Using references from the Hermetic philosophy, to Dummett, to (...) Peirce, to Smolin, the paper asserts that, should we understand the language of signs, the memories of past and future events would be accessible to human reason. (shrink)

This paper explores the relationship between informal reasoning, creativity in mathematics, and problem solving. It underscores the importance of environments that promote interaction, hypothesis generation, examination, refutation, derivation of new solutions, drawing conclusions, and reasoning with others, as key factors in enhancing mathematical creativity. Drawing on argumentation logic, the paper proposes a novel approach to uncover specific characteristics in the development of formalized proving using “proof-events.” Argumentation logic can offer reasoning mechanisms that facilitate these environments. This paper proposes (...) how argumentation can be implemented to discover certain characteristics in the development of formalized proving with “proof-events”. The concept of a proof-event was introduced by Goguen who described mathematical proof as a multi-agent social event involving not only “classical” formal proofs, but also other informal proving actions such as deficient or alleged proofs. Argumentation is an integral component of the discovery process for a mathematical proof since a proof necessitates a dialogue between provers and interpreters to clarify and resolve gaps or assumptions. By formalizing proof-events through argumentation, this paper demonstrates how informal reasoning and conflicts arising during the proving process can be effectively simulated. The paper presents an extended version of the proof-events calculus, rooted in argumentation theories, and highlights the intricate relationships among proof, human reasoning, cognitive processes, creativity, and mathematical arguments. (shrink)

What is consciousness? Some philosophers have contended that ‘qualia’, or an experiential medium from which consciousness is derived, exists as a fundamental component of reality. Whitehead, for example, described the universe as being comprised of ‘occasions of experience’. To examine this possibility scientifically, the very nature of physical reality must be re-examined. We must come to terms with the physics of space-time -- as is described by Einstein's general theory of relativity -- and its relation to the fundamental theory of (...) matter -- as described by quantum theory. This leads us to employ a new physics of objective reduction: OR which appeals to a form of ‘quantum gravity’ to provide a useful description of fundamental processes at the quantum/classical borderline . Within the OR scheme, we consider that consciousness occurs if an appropriately organized system is able to develop and maintain quantum coherent superposition until a specific ‘objective’ criterion is reached; the coherent system then self-reduces . We contend that this type of objective self-collapse introduces non-computability, an essential feature of consciousness. OR is taken as an instantaneous event -- the climax of a self-organizing process in fundamental space-time -- and a candidate for a conscious Whitehead-like ‘occasion’ of experience. How could an OR process occur in the brain, be coupled to neural activities, and account for other features of consciousness? We nominate an OR process with the requisite characteristics to be occurring in cytoskeletal microtubules within the brain's neurons. (shrink)

Many philosophers of psychology fail to appreciate the constructivist process of science as well as its pragmatic aspects. A well-developed philosophy of science helps to clear many conceptual confusions. However, ridding ourselves of popular complaints only opens more sophisticated worries regarding how we generalize specific events and how we use those generalizations to build physical systems and abstract models. These questions can still be answered though by realizing that science is largely a social enterprise, and (...) how and what we explain depends a great deal upon who is asking the question of whom and when. (shrink)

The evolutionary theory of threat simulation during dreaming indicates that themes appropriate to ancestral survival concerns (threats) should be disproportionately represented in dreams. Our studies of typical dream themes in students and sleep-disordered patients indicate that threatening dreams involving chase and pursuit are indeed among the three most prevalent themes, thus supporting Revonsuo's theory. However, many of the most prevalent themes are of positive, not negative, events (e.g., sex, flying) and of current, not ancestral, threat scenarios (e.g., schoolwork). Moreover, (...) many clearly ancestral themes (e.g., snakes, earthquakes) are not prevalent at all in dreams. Thus, these findings challenge the specificity of the threat simulation theory. [Revonsuo]. (shrink)

Traditionally, in the literature on robustness analysis objects are classified as genuine phenomena (natural objects, events, and processes) or artifacts (results produced in error). But much of biological measurement requires the manipulation of local experimental conditions in order to produce new effects. These types of intervention-based regularities are neither natural objects nor artifacts; characterizing them as either fails adequately to address key ontological properties as well as their role in scientific practice. It is argued that a new classification, based (...) on methodological considerations, can be useful in order to characterize experimental productions. Experimentally-useful context-sensitive objects are referred to as ‘artefacts’. To show how the new classification works and why it is instructive for scientific practice, two case studies are discussed. First, the puzzle of arsenic-consuming living organisms is analyzed, where under a set of specific experimental conditions a given organism was found to replace phosphorous with arsenic in its DNA. Second, ecological epigenetic measurement is discussed to show the complexity of variant effects in the context of lab, field, and computer measurements. It is argued that the line between artifacts and artefacts is fluid because theoretical, experimental, and practical considerations vary. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Timothy Clark HEIDEGGER, DERRIDA, AND THE GREEK LIMITS OF PHILOSOPHY The question "What is philosophy?" is not simply one question among others. Its status involves the questioner at once in a series of peculiar problems. The question "What is chemistry?" (for instance) would surely seem to admit of an answer. Even if there were a dispute about the wording of a definition, the general region to which the question (...) directs us seems relatively secure. "What is chemistry?" asks about the essence of a physical science and, as a consequence, the questioner will be situated in the realm of the philosophy of science. "What is philosophy?" however, can make no such leap. A "philosophy of philosophy " is simply tantamount to more philosophy. The question of philosophy 's essence can only be posed within philosophy. Moreover, would not this very question of an essence ofphilosophy be determined in advance by an understanding of "essence" by philosophy, which thus seems remorselessly to encompass the borders of that which might try to enclose it? The mode of questioning on the (impossible?) borders of philosophical discourse is the site of Martin Heidegger's so-called overcoming of Western Metaphysics. More recently, Jacques Derrida has intensified the mode of borderline questioning, engaging himself in both a radicalization and displacement of Heideggerian questions. Derrida writes, in "Violence and Metaphysics" (1964), "The entirety of philosophy is conceived on the basis of its Greek source. As is well known, this amounts neither to an occidentalism, nor a historicism. It is simply that the founding concepts of philosophy are primarily Greek, and it would not be possible to philosophize, or to speak philosophically, outside this medium."1 Derrida continues to discuss Husserlian phenomenology and the thought of Heidegger in terms of their insistence on 75 76Philosophy and Literature conceiving philosophy according to its Greek impetus. If something is to transpire in the traditions of philosophy, its origin "will have to be summoned forth and adhered to as rigorously as possible" (p. 81). The specific "event" to be attended to will be what Derrida, after Heidegger, describes as the determination ofbeing as presence. This, it is argued, is constitutive in respect of philosophy and all the regional disciplines it governs. Needless to say "the determination of being as presence" demands considerable explication. The Greek nature of philosophy is discussed by Heidegger in the lecture, "What is Philosophy?"2 The question raises the problem of philosophy 's relation to its limits. Tb ask the question "What is Philosophy?" is not to step outside thought to some "metaphilosophical" realm. It is to be already standing in Greece. What is specifically Greek and decisive, in fact, is the very mode of the question ''What is XT' itself: "But not only what is in question —philosophy— is Greek in origin, but how we question, the manner in which we question even today, is Greek. We ask, "what is that—" (p. 35). The Greek mode of questioning something as to its whatness {ti estin?, "what is it?") has now become thoroughly familiar. Its novelty and Greek source have become obscured: "It is this form of questioning which Socrates, Plato, and Aristode developed. They ask, for example, What is the beautiful? What is knowledge?'..." (p. 37). Heidegger's characterization of the question, ti estin?, as decisively Greek must be distinguished from Edmund Husserl's apparently similar description of the fundamentally Greek nature of philosophy. Husserl characterized the theoretical relation to the world as a legacy which has largely determined Western Europe and, indeed, the modern world itself, a determination most palpable in the proliferation of the various sciences. The theoretical attitude is one of pure curiosity towards entities : "man becomes the disinterested spectator, overseer of the world, he becomes a philosopher."3 Moreover, the devotion to pure theoria builds up a body of disinterested knowledge in which others may participate and to which they may add. A universal culture, a project traversing individual and national difference, comes into being. The Greek philosopher embodied, for the first time, a type ofhumanity and culture to which the European world still belongs. Husserl thus underlines the huge stakes in so little a question as the "What is it?"//i estin... (shrink)

In April 2017, scientists and science sympathizers held marches in the United Kingdom as part of a coordinated international March for Science movement that was held in over 600 cities worldwide. This article reports from participant-observation studies of the marches that took place in London and Cardiff. Supplemented with data from 37 interviews from marchers at the London event, the article reports on an analysis of the placards, focusing on marchers’ concerns and the language and images through which (...) they expressed those concerns. How did the protesters articulate their concerns and objectives, and how were these articulations used to build a community? The placards did not represent a clear, focused, and unifying message; they instead illustrated disparate concerns ranging from human-induced climate change, Trump and “alternative facts,” and local UK specific political issues concerning the country’s exit from the European Union. Our analysis shows that placards gave a playful and whimsical character to the march, with slogans displaying significant amounts of humor, often formulated through insider jokes, scientific puns, or self-deprecating appropriation of negative stereotypes about scientists. We analyze the march through the social movement literature and as a collective identity-building exercise for an community of scientists and sympathizers with long-term aims of establishing a louder voice for scientists, and experts, in public discourse. (shrink)

Experimental engineering models have been used both to model general phenomena, such as the onset of turbulence in fluid flow, and to predict the performance of machines of particular size and configuration in particular contexts. Various sorts of knowledge are involved in the method - logical consistency, general scientific principles, laws of specific sciences, and experience. I critically examine three different accounts of the foundations of the method of experimental engineering models (scale models), and examine how theory, practice, and (...) experience are involved in employing the method to obtain practical results. Models of machines and mechanisms can be (and generally are) involved in establishing criteria for similar phenomena, which provide guidance in using events to model other events. Conversely, models of phenomena such as events that model other events can be (and generally are) involved in experimentation on models of machines. I conclude that often it is not more detailed models or the more precise equations they engender that leads to better understanding, but rather an insightful use of knowledge at hand to determine which similarity principles are appropriate in allowing us to infer what we do not know from what we are able to observe. (shrink)

Hayden White wants history to serve life by having it inspire an ethical consciousness, by which he means that in facing the existential questions of life, death, trauma, and suffering posed by human history, people are moved to formulate answers to them rather than to feel that they have no power to choose how they live. The ethical historian should craft narratives that inspire people to live meaningfully rather than try to provide explanations or reconstructions of past events that (...) make them feel as if they cannot control their destiny. This Nietzschean-inspired vision of history is inadequate because it cannot gainsay that a genocidal vision of history is immoral. White may be right that cultural relativism results in cultural pluralism and toleration, but what if most people are not cultural relativists, and believe fervently in their right to specific lands at the expense of other peoples? White does not think historiography or perhaps any moral system can provide an answer. Is he right? This rejoinder argues that the communicative rationality implicit in the human sciences does provide norms about the moral use of history because it institutionalizes an intersubjectivity in which the use of the past is governed by norms of impartiality and fair-mindedness, and protocols of evidence based on honest research. Max Weber, equally influenced by Nietzsche, developed an alternative vision of teaching and research that is still relevant today. (shrink)

Metaphysics has no place in the science-religion discourses if understood as an a priori universal content of the nature and causes of all things. From an overview of the positive and negative dimensions and challenges of the contemporary science-religion discourses within each conversation partner itself and between the two, it is argued that metaphysical reflection represents a contextual-linguistic event that ‘takes place’ only after the contextual giveness is taken up within a very concrete historical-linguistic frame of reference for (...) sense making. In a metaphoric sense, it is conclusively compared with the movements of atoms of which we can only state afterwards where the atoms have been. In this sense, McGrath’s remark that ‘etaphysics is not the precondition of any engagement with the world, but its inferred consequence’ is supported. The ‘was’ of metaphysical thinking represents the emergent product of the concrete and specific lifeworlds in which they have ‘taken place’, that is, ‘eventuated’. The ‘was’ of metaphysical reflection is the most powerful event of credofication for human beings in living, making sense of and participating empathically in the question ‘why there is something rather than nothing?’. (shrink)

This book, in language accessible to the general reader, investigates twelve of the most notorious, most interesting, and most instructive episodes involving the interaction between science and Christianity, aiming to tell each story in its historical specificity and local particularity. Among the events treated in When Science and Christianity Meet are the Galileo affair, the seventeenth-century clockwork universe, Noah's ark and flood in the development of natural history, struggles over Darwinian evolution, debates about the origin of the (...) human species, and the Scopes trial. Readers will be introduced to St. Augustine, Roger Bacon, Pope Urban VIII, Isaac Newton, Pierre-Simon de Laplace, Carl Linnaeus, Charles Darwin, T. H. Huxley, Sigmund Freud, and many other participants in the historical drama of science and Christianity. (shrink)