Symbols enable people to organize and communicate about the world. However, the ways in which symbolic knowledge is learned and then represented in the mind are poorly understood. We present a formal analysis of symbolic learning—in particular, word learning—in terms of prediction and cue competition, and we consider two possible ways in which symbols might be learned: by learning to predict a label from the features of objects and events in the world, and by learning to predict features from a (...) label. This analysis predicts significant differences in symbolic learning depending on the sequencing of objects and labels. We report a computational simulation and two human experiments that confirm these differences, revealing the existence of Feature-Label-Ordering effects in learning. Discrimination learning is facilitated when objects predict labels, but not when labels predict objects. Our results and analysis suggest that the semantic categories people use to understand and communicate about the world can only be learned if labels are predicted from objects. We discuss the implications of this for our understanding of the nature of language and symbolic thought, and in particular, for theories of reference. (shrink)
In this paper, we examine Sextus Empiricus' treatise Against the geometers . We first set this treatise in the overall context of the sceptic's polemics against the liberal arts. After a discussion of Sextus' attitude to the quadrivium , we discuss the structure, the sources and the target of the Against the geometers . It appears that Euclid is not Sextus' source, and neither he, nor the professional geometers, seem to be Sextus' main targets. Of course, Sextus never really makes (...) clear his precise target, but his attacks are rather directed against geometry as a means of modelling the physical world, thus ruining the support geometry was intended to bring to the physical part of dogmatic philosophy. (shrink)
In recent issues of this journal, Roger Scruton and Malcolm Budd have debated the question whether hearing a melody in a sequence of sounds necessarily involves an ‘unasserted thought’ about spatial movement. According to Scruton, the answer is ‘yes’; according to Budd, the answer is ‘no’. The conclusion of this paper is that, while Budd may have underestimated the viability of Scruton's thesis in one of its possible interpretations, there is no good reason to assume that the thesis is (...) true. Very briefly, the argument for the second part of the conclusion is that we can account for all the data adduced by Scruton in favour of his hypothesis by means of hypotheses that are far less daring. (shrink)
The stormy development of vocal production during the first postnatal weeks is generally underestimated. Our longitudinal studies revealed an amazingly fast unfolding and combinatorial complexification of pre-speech melodies. We argue that relying on “melody” could provide for the immature brain a kind of filter to extract life-relevant information from the complex speech stream.
This paper aims to examine the awesome, almost spiritual feeling I experience as an ?extreme spectator? while watching Kelly Slater ride the monstrous waves of Pipeline. Drawing on the aesthetics of Kant and Schopenhauer, I examine the experience of the sublime and how it, in conjunction with the perceived kinetic melody of Slater's movements and his karmic connection to the environment in which he thrives, gives rise to the deeply felt awe of the extreme spectator. My intention is to (...) use Slater's case as a paradigm that can be applied to many other athletic performances which share the characteristics discussed in the paper. (shrink)
Much of what we know and love about music is based on implicitly acquired mental representations of musical pitches and the relationships between them. While previous studies have shown that these mental representations of music can be acquired rapidly and can influence preference, it is still unclear which aspects of music influence learning and preference formation. This article reports two experiments that use an artificial musical system to examine two questions: (1) which aspects of music matter most for learning, and (...) (2) which aspects of music matter most for preference formation. Two aspects of music are tested: melody and harmony. In Experiment 1 we tested the learning and liking of a new musical system that is manipulated melodically so that only some of the possible conditional probabilities between successive notes are presented. In Experiment 2 we administered the same tests for learning and liking, but we used a musical system that is manipulated harmonically to eliminate the property of harmonic whole-integer ratios between pitches. Results show that disrupting melody (Experiment 1) disabled the learning of music without disrupting preference formation, whereas disrupting harmony (Experiment 2) does not affect learning and memory but disrupts preference formation. Results point to a possible dissociation between learning and preference in musical knowledge. (shrink)
A great deal of effort has been, and continues to be, devoted to developing consciousness artificially (A small selection of the many authors writing in this area includes: Cotterill (J Conscious Stud 2:290–311, 1995 , 1998 ), Haikonen ( 2003 ), Aleksander and Dunmall (J Conscious Stud 10:7–18, 2003 ), Sloman ( 2004 , 2005 ), Aleksander ( 2005 ), Holland and Knight ( 2006 ), and Chella and Manzotti ( 2007 )), and yet a similar amount of effort has (...) gone in to demonstrating the infeasibility of the whole enterprise (Most notably: Dreyfus ( 1972/1979 , 1992 , 1998 ), Searle ( 1980 ), Harnad (J Conscious Stud 10:67–75, 2003 ), and Sternberg ( 2007 ), but there are a great many others). My concern in this paper is to steer some navigable channel between the two positions, laying out the necessary pre-conditions for consciousness in an artificial system, and concentrating on what needs to hold for the system to perform as a human being or other phenomenally conscious agent in an intersubjectively-demanding social and moral environment. By adopting a thick notion of embodiment—one that is bound up with the concepts of the lived body and autopoiesis (Maturana and Varela 1980 ; Varela et al. 2003 ; and Ziemke 2003 , 2007a , J Conscious Stud 14(7):167–179, 2007b )—I will argue that machine phenomenology is only possible within an embodied distributed system that possesses a richly affective musculature and a nervous system such that it can, through action and repetition, develop its tactile-kinaesthetic memory, individual kinaesthetic melodies pertaining to habitual practices, and an anticipatory enactive kinaesthetic imagination. Without these capacities the system would remain unconscious, unaware of itself embodied within a world. Finally, and following on from Damasio’s ( 1991 , 1994 , 1999 , 2003 ) claims for the necessity of pre-reflective conscious, emotional, bodily responses for the development of an organism’s core and extended consciousness, I will argue that without these capacities any agent would be incapable of developing the sorts of somatic markers or saliency tags that enable affective reactions, and which are indispensable for effective decision-making and subsequent survival. My position, as presented here, remains agnostic about whether or not the creation of artificial consciousness is an attainable goal. (shrink)
Although Newman’s Fifteenth Oxford University Sermon is often considered a precursor to An Essay on the Development of Christian Doctrine (1845), the following essay views this Sermon as an expression of Newman’s personal struggle from 1839 to 1845: in the midst of confusion, he pondered; against the threat of liberal skepticism, he defended truth; in the face of doubt, he reaffirmed his relationship with God.
: This essay addresses the difficulties that sociology as a discipline continues to experience in grasping the relations between technology, science and the social. I argue that these difficulties stem from a resolute centering of sociology on the social, which follows a generically Durkheimian blueprint. I elaborate a response to these difficulties which derives from recent lines of work in science and technology studies, and which entails a decentering of the social relative to the material and the conceptual, in terms (...) of both objects of analysis and explanatory formats. In order to display the direct sociological relevance of this approach, I move to the macro level, developing the conceptual apparatus of a decentered social theory via the discussion of a historical example of major sociological significance—the systematic gearing together of scientific research, technological innovation and industrial production that originated in the synthetic dye industry in the second half of the nineteenth century. Besides the interest of the topic itself, the aim is thus to exemplify in some detail what a decentered sociology might look like, both empirically and conceptually. (shrink)
Outline by Section: I. INTRODUCTION: METHOD OF PHENOMENOLOGY II. REDUCTION FROM DOGMAS III. EXAMPLES OF PHENOMENOLOGICAL DESCRIPTION OF A. SENTENCE B. MELODY C. DIAGRAM OF TIME IV. MODIFICATIONS AS MODES OF TEMPORAL STRUCTURE V. RETENTION VI. CONSTITUTION OF EXTERNAL TIME Time present and time past.
Doxastic voluntarism is the philosophical doctrine according to which people have voluntary control over their beliefs. Philosophers in the debate about doxastic voluntarism distinguish between two kinds of voluntary control. The first is known as direct voluntary control and refers to acts which are such that if a person chooses to perform them, they happen immediately. For instance, a person has direct voluntary control over whether he or she is thinking about his or her favorite song at a given moment. (...) The second is known as indirect voluntary control and refers to acts which are such that although a person lacks direct voluntary control over them, he or she can cause them to happen if he or she chooses to perform some number of other, intermediate actions. For instance, a person untrained in music has indirect voluntary control over whether he or she will play a melody on a violin. Corresponding to this distinction between two kinds of voluntary control, philosophers distinguish between two kinds of doxastic voluntarism. Direct doxastic voluntarism claims that people have direct voluntary control over at least some of their beliefs. Indirect doxastic voluntarism, however, supposes that people have indirect voluntary control over at least some of their beliefs, for example, by doing research and evaluating evidence. This article offers an introductory explanation of the nature of belief, the nature of voluntary control, the reasons for the consensus regarding indirect doxastic voluntarism, the reasons for the disagreements regarding direct doxastic voluntarism, and the practical implications for the debate about doxastic voluntarism in ethics, epistemology, political theory, and the philosophy of religion. (shrink)
The debate between emergentists and reductionists rests on the observation that in many situations, in which it seems desirable to work with a coherent and unified discourse, key predicates fall into different groups, such that pairs of members one taken from each group, cannot be co-predicated of some common subject. Must we settle for ‘island’ discourses in science and human affairs or is some route to a unified discourse still open? To make progress towards resolving the issue the conditions under (...) which such segregations of predicates seem inexorable must be brought out. The distinction between determinable and determinate properties throws light on some aspects of this problem. Bohr’s concept of complementarity, when combined with Gibson’s idea of an affordances as a special class of dispositional properties is helpful. Several seeming problems melt away, for example, how it is possible for a group of notes to become hearable as a melody. The mind-body problem and the viability of the project of reducing biology to chemistry and physics are two issues that are more difficult to deal with. Are mental phenomena, such as feelings and memories emergent from material systems or are they actually material properties themselves? Are the attributes of living beings emergent from certain accidental but long running collocations of chemical reactions, or are they nothing but chemical phenomena? If emergent, in what way are they distinctive from that from which they emerge? (shrink)
... there are cases in which on the basis of a temporally extended content of consciousness a unitary apprehension takes place which is spread out over a temporal interval (the so-called specious present). ... That several successive tones yield a melody is possible only in this way, that the succession of psychical processes are united "forthwith" in a common structure.
What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents a compelling (...) case for the moral significance of music, its place in our culture, and the need for taste and discrimination in performing and listening to it. Laying down principles for musical analysis and criticism, this bold work concludes with a theory of culture--and a devastating demolition of modern popular music. "A provocative new study."--The Guardian. (shrink)
The distinctive claim of the Gestalt psychologists (of Prague, Graz, Berlin, Leipzig, and Vienna) is that we are typically aware of wholes which have “Gestalt qualities”, such as being a melody, and that these qualities could not be properties of mere sums, for example of sums of tones. A common, stronger claim is that the wholes we are aware of are themselves “Gestalten”, the parts of which are inseparable from each other and from the wholes they belong to. The (...) Gestalt psychologists took themselves to be opposing associationistic and atomistic assumptions in psychology. The notion of a Gestalt is applied primarily in their accounts of perception and to a much lesser extent in their accounts of feelings (Gefühle), aesthetic and non-aesthetic, of their objects, of our awareness of the feelings of others, of our attributions of emotions, of our grasp of value and of the relations between affective phenomena and perception. (shrink)
Political judgment in its historical context -- The politics of managing decline -- Moralism and realpolitik -- On the very idea of a metaphysics of right -- The actual and another modernity : order and imagination in Don Quixote -- Culture as ideal and as boundary -- On museums -- Celan's Meridian -- Heidegger and his brother -- Richard Rorty at Princeton : personal recollections -- Melody as death -- On bourgeois philosophy and the concept of "criticism".
Jakob von Uexküll's theories of life -- Biography and historical background -- Nature's conformity with plan -- Umweltforschung -- Biosemiotics -- Concluding remarks -- Marking a path into the environments of animals -- The essential approach to the organism -- Heidegger and the biologists -- Paths to the world -- Disruptive behavior : Heidegger and the captivated animal -- The worldless stone -- The poor animal -- For example, three bees and a lark -- Animal morphology -- A shocking wealth (...) -- A fine line in the rupture of time -- An affected body -- The theme of the animal melody : Merleau-Ponty and the umwelt -- The structure of behavior -- A pure wake, a quiet force -- A leaf of being -- Interanimality -- The-animal-stalks-at-five-oclock : Deleuze's affection for Uexküll -- Problematic organisms -- Uexküll's ethology of affects -- The body without organs, the embryonic egg, and prebiotic soup -- Nature's refrain sung across milieus and territories -- The animal stalks. (shrink)
: I argue and demonstrate in this essay that interconnected systems of science and technology, or technoscience, existed long before the late nineteenth century, and that eighteenth-century chemistry was such an early form of technoscience. Based on recent historical research on the early development of carbon chemistry from the late 1820s until the 1840s—which revealed that early carbon chemistry was an experimental expert culture that was largely detached from the mundane industrial world—I further examine the question of the internal preconditions (...) within the expert culture of carbon chemistry that contributed to its convergence with the synthetic-dye industry in the late 1850s. I argue that the introduction of new types and techniques of organic-chemical reactions and organic substances in this experimental expert culture, along with the application of chemical formulae as paper tools for modeling reactions as well as the chemical constitution and structure of substances, enabled academic chemists to make specific, novel contributions to chemical technology and industry in the second half of the nineteenth century. (shrink)
How are natural symbol systems best understood? Traditional “symbolic” approaches seek to understand cognition by analogy to highly structured, prescriptive computer programs. Here, we describe some problems the traditional computational metaphor inevitably leads to, and a very different approach to computation (Ramscar, Yarlett, Dye, Denny, & Thorpe, 2010; Turing, 1950) that allows these problems to be avoided. The way we conceive of natural symbol systems depends to a large degree on the computational metaphors we use to understand them, and machine (...) learning suggests an understanding of symbolic thought that is very different to traditional views (Hummel, 2010). The empirical question then is: Which metaphor is best? (shrink)
Increasing emphasis on genetic research means that growing numbers of human research projects in Australia will involve complex issues related to genetic privacy, familial information and genetic epidemiology. The Office of Population Health Genomics (Department of Health, Western Australia) hosted an interactive workshop to explore the ethical issues involved in the disclosure of genetic information, where researchers and members of human research ethics committees (HRECs) were asked to consider several case studies from an ethical perspective. Workshop participants used a variety (...) of approaches to examine the complex ethical issues encountered, but did not consistently refer to the values and principles outlined in the National Statement on Ethical Conduct in Human Research (NHMRC 2007) or apply rational ethical approaches. Overall, the data suggested that both researchers and HREC members may benefit from further education and support regarding the application of ethical frameworks to the issues encountered in genetic research. (shrink)
Thanks to the kind cooperation of Mrs. Elise Harding-Davis, director of the North American Black Historical Museum and Cultural Centre, we are able to reproduce the score of this famous melody which features so prominently in Sartre's Nausea. This museum is located in Amherstburg, Ontario, some thirty kilometers southwest of the Ambassador Bridge which links Detroit, Michigan with Windsor, Ontario. Shelton Brooks, who composed the melody in 1910, was a descendent of black slaves who made their way to (...) freedom by way of "the underground railway" and settled in Southwestern Ontario. He was born in Amherstburg; toured widely in Canada, the United States and Europe and he finally settled in Fontana, California where he died in 1975 at age 86. In the conclusion of Nausea Roquentin identifies him incorrectly as a New York Jew and refers to the singer as black. In fact the composer was an Afro-Canadian while the singer was New Yorker Sophie Tucker, who was Jewish. (shrink)
Increasing interest has been paid to applications of fluorescence measurements to analyze physiological mechanisms in living cells. However, few studies have taken advantage of DNA quantification by fluorometry for dynamic assessment of chromatin organization as well as cell motion during the cell cycle. This approach involves both optimal conditions for DNA staining and cell tracking methods. In this context, this report describes a stoichiometric method for nuclear DNA specific staining, using the bisbenzimidazole dye Hoechst 33342 associated with verapamil, a calcium (...) membrane channel blocker. This method makes it possible to correlate variations of nuclear DNA content with cell motion in cells that are maintained alive. Motion measurement is the second goal of this paper and it explains the snake-spline method, and the associated cell following method. (shrink)
Background Continued advances in human microbiome research and technologies raise a number of ethical, legal, and social challenges. These challenges are associated not only with the conduct of the research, but also with broader implications, such as the production and distribution of commercial products promising maintenance or restoration of good physical health and disease prevention. In this article, we document several ethical, legal, and social challenges associated with the commercialization of human microbiome research, focusing particularly on how this research is (...) mobilized within economic markets for new public health uses. Methods We conducted in-depth, semi-structured interviews (2009–2010) with 63 scientists, researchers, and National Institutes of Health project leaders (“investigators”) involved with human microbiome research. Interviews explored a range of ethical, legal, and social dimensions of human microbiome research, including investigators’ perspectives on commercialization. Using thematic content analysis, we identified and analyzed emergent themes and patterns. Results Investigators discussed the commercialization of human microbiome research in terms of (1) commercialization, probiotics, and issues of safety, (2) public awareness of the benefits and risks of dietary supplements, and (3) regulation. Conclusion The prevailing theme of ethical, legal, social concern focused on the need to find a balance between the marketplace, scientific research, and the public’s health. The themes we identified are intended to serve as points for discussions about the relationship between scientific research and the manufacture and distribution of over-the-counter dietary supplements in the United States. (shrink)
In this paper, I will try to show Bergson's resolution of the paradox of the human condition: the tension existing between 'living in the world' and 'perceiving the world'. His resolution centers around his concept "displacement of attention." According to him, when the direction of reasoning changes from 'intellect to intuition' to 'intuition to intellect', one will be able to experience the seemingly distinct two realms as a "succession without distinction". This experience is possible only by means of intuition in (...) duration. In order to explain this kind of experience, Bergson uses the analogy of an artist creating a work of art. The artist and the philosopher both share the act of perceiving for the sake of perceiving; they both create in duration and as such they are able to perceive the moving world of phenomena without stopping it and breaking it into pieces. It is only through carrying this experience that we live in art or when we listen to a melody or again when we experience our self from within into the realm of philosophy that one is able to do true philosophy. (shrink)
Nature as gestalt and melody -- Radical reflection and the resistance of things -- Animality -- The space of intentionality and the orientation of being -- The human-nature chiasm.
Three experiments explored online recognition in a nonspeech domain, using a novel experimental paradigm. Adults learned to associate abstract shapes with particular melodies, and at test they identified a played melody’s associated shape. To implicitly measure recognition, visual fixations to the associated shape versus a distractor shape were measured as the melody played. Degree of similarity between associated melodies was varied to assess what types of pitch information adults use in recognition. Fixation and error data suggest that adults (...) naturally recognize music, like language, incrementally, computing matches to representations before melody offset, despite the fact that music, unlike language, provides no pressure to execute recognition rapidly. Further, adults use both absolute and relative pitch information in recognition. The implicit nature of the dependent measure should permit use with a range of populations to evaluate postulated developmental and evolutionary changes in pitch encoding. (shrink)
We present evidence of a potentially serious source of error intrinsic to all spotted cDNA microarrays that use IMAGE clones of expressed sequence tags (ESTs). We found that a high proportion of these EST sequences contain 5V-end poly(dT) sequences that are remnants from the oligo(dT)-primed reverse transcription of polyadenylated mRNA templates used to generate EST cDNA for sequence clone libraries. Analysis of expression data from two single-dye cDNA microarray experiments showed that ESTs whose sequences contain repeats of consecutive 5V- end (...) dT residues appeared to be strongly coexpressed, while expression data of all other sequences exhibited no such pattern. Our analysis suggests that expression data from sequences containing 5V poly(dT) tracts are more likely to be due to systematic cross-hybridization of these poly(dT) tracts than to true mRNA coexpression. This indicates that existing data generated by cDNA microarrays containing IMAGE clone ESTs should be filtered to remove expression data containing significant 5V poly(dT) tracts. D 2003 Elsevier Inc. All rights reserved. (shrink)
Augustine of Hippo (354–430 A.D.) meditated on the transcendent attributes of numbers that accountants so skillfully employ and on the attributes of moral rules. He thereby achieved a profound awareness of their Source in Truth. Nature is also governed by numbers; it is a “melody” that, again, woos one to its Source in Beauty. Whereas some businessmen meditate to clear their minds of clutter so as to make successful business decisions, Augustine persisted beyond the mere absence of clutter. Within (...) the stream of his own consciousness he found a focal point that led to the experience of the presence of a transcendent God in his own deeper self. The “order of love” enables one to achieve balance and a higher freedom wherein one cannot do wrong and possesses the courage to work toward building an earthly city that is just and beautiful, one that facilitates Everyman’s penetration of his own depth. (shrink)
Musical Perceptions is a much-needed text that introduces students of both music and psychology to the study of music perception and cognition. Because the book aims to foster a closer interaction between research in the science and the art of music, both psychologists and musicians contribute chapters on a wide range of topics, including the philosophy of music; research in musical performance; perception of melody, tonality, and rhythm; pedagogical issues; language and music; and neural networks. With their unique ability (...) to introduce musical and psychological concepts to first-time students in the area, Rita Aiello and John Sloboda have edited a volume that will be popular with undergraduate and graduate students taking courses in the perception, psychology, and aesthetics of music. They have prefaced each chapter with an introduction to the chapter's research. This book will also be useful to cognitive and physiological psychologists and music theorists interested in music perception. (shrink)
In order to test a mathematical model of G1/S-phase transition, the proliferative response of the murine myeloid interleukin 3 (IL-3) dependent cell line NFS-78 to graded reduction of IL-3 levels was measured. Exponentially growing cells were exposed to bromodeoxyuridine (BUdR), which replaces thymidine (TdR) in the DNA double strands during DNA synthesis. After incubation periods ranging from 3 to 36 h the cells were fixed and stained with a fluorescence dye mixture of Hoechst 33258 and ethidium bromide (EB) and subsequently (...) analyzed in a two-parametrical flow cytometer. The BUdR-quenched TdR-specific Hoechst 33258 fluorescence of each cell provides information on the cell cycle location at the start of incubation and on whether or not a cell has divided. The DNA-specific EB fluorescence provides information on the actual cell cycle location at the end of the incubation period. From the 2-dimensional fluorescence distributions the efflux from G1-phase was calculated. Upon IL-3 reduction the cells showed accumulation in the Gl-phase along with a reduction in the progression rate through the other phases of the cell cycle. By staining with the vital dye Hoechst 33342 as well as with propidium iodide (PI) it was further possible to show that cell death after IL-3 withdrawal occurred in all phases of the cell cycle. (shrink)
The Topos of Music is the upgraded and vastly deepened English extension of the seminal German Geometrie der Töne. It reflects the dramatic progress of mathematical music theory and its operationalization by information technology since the publication of Geometrie der Töne in 1990. The conceptual basis has been vastly generalized to topos-theoretic foundations, including a corresponding thoroughly geometric musical logic. The theoretical models and results now include topologies for rhythm, melody, and harmony, as well as a classification theory of (...) musical objects that comprises the topos-theoretic concept framework. Classification also implies techniques of algebraic moduli theory. The classical models of modulation and counterpoint have been extended to exotic scales and counterpoint interval dichotomies. The probably most exciting new field of research deals with musical performance and its implementation on advanced object-oriented software environments. This subject not only uses extensively the existing mathematical music theory, it also opens the language to differential equations and tools of differential geometry, such as Lie derivatives. Mathematical performance theory is the key to inverse performance theory, an advanced new research field which deals with the calculation of varieties of parameters which give rise to a determined performance. This field uses techniques of algebraic geometry and statistics, approaches which have already produced significant results in the understanding of highest-ranked human performances. The book's formal language and models are currently being used by leading researchers in Europe and Northern America and have become a foundation of music software design. This is also testified by the book's nineteen collaborators and the included CD-ROM containing software and music examples. (shrink)
One is a science, the other an art; one useful, the other seemingly decorative, but mathematics and music share common origins in cult and mystery and have been linked throughout history. Emblems of Mind is Edward Rothstein’s classic exploration of their profound similarities, a journey into their “inner life.” Along the way, Rothstein explains how mathematics makes sense of space, how music tells a story, how theories are constructed, how melody is shaped. He invokes the poetry of Wordsworth, the (...) anthropology of Le;vi-Strauss, the imagery of Plato, and the philosophy of Kant. Math and music, Rothstein shows, apply comparable methods as they create their abstractions, display similar concerns with ratio and proportion, and depend on metaphors and analogies to create their meanings. Ultimately, Rothstein argues, they reveal the ways in which we come to understand the world. They are images of the mind at work and play; indeed, they are emblems of Mind itself. Jacques Barzun called this book “splendid.” Martin Gardner said it was “beautifully written, marvelous and entertaining.” It will provoke all serious readers to think in new ways about the grand patterns in art and life. “Lovely, wistful. . . . Rothstein is a wonderful guide to the architecture of musical space, its tensions and relations, its resonances and proportions. . . . His account of what is going on in the music is unfailingly felicitous.”— New Yorker “Provocative and exciting. . . . Rothstein writes this book as a foreign correspondent, sending dispatches from a remote and mysterious locale as a guide for the intellectually adventurous. The remarkable fact about his work is not that it is profound, as much of the writing is, but that it is so accessible.”— Christian Science Monitor. (shrink)
Symbol formation is a term used to unify the view on the interdependencies in the research of the Hamburg University before 1933: the Philosophical Institute (William Stern, Ernst Cassirer), the Psychological Institute (Stern) with its laboratory (Heinz Werner) in cooperation with the later joining Umwelt Institut (Jakob von Uexküll). The term, definitely used by Cassirer and Werner, is associated with the personalistic approach: “Keine Gestalt ohne Gestalter” (Stern), but also covers related terms like “melody of motion” (Uexküll), and “relational (...) content” (Cassirer), discussing the term “empirical scheme” (Kant). All this scientific interest addressed personal forces to structure thresholds in equivalent stimuli. This view on intermodal formation allowed research in common aspects in the environments of animals, of children and adults to meet there the symbol formation of artists (Weimar Bauhaus) and poets like R. M. Rilke, a friend of Uexküll. (shrink)
We present evidence of a potentially serious source of error intrinsic to all spotted cDNA microarrays that use IMAGE clones of expressed sequence tags (ESTs). We found that a high proportion of these EST sequences contain 5V-end poly(dT) sequences that are remnants from the oligo(dT)-primed reverse transcription of polyadenylated mRNA templates used to generate EST cDNA for sequence clone libraries. Analysis of expression data from two single-dye cDNA microarray experiments showed that ESTs whose sequences contain repeats of consecutive 5V- end (...) dT residues appeared to be strongly coexpressed, while expression data of all other sequences exhibited no such pattern. Our analysis suggests that expression data from sequences containing 5V poly(dT) tracts are more likely to be due to systematic cross-hybridization of these poly(dT) tracts than to true mRNA coexpression. This indicates that existing data generated by cDNA microarrays containing IMAGE clone ESTs should be filtered to remove expression data containing significant 5V poly(dT) tracts. D 2003 Elsevier Inc. All rights reserved. (shrink)
The Ikhwan al-Safa' (Brethren of Purity), the anonymous adepts of a tenth-century esoteric fraternity based in Basra and Baghdad, hold an eminent position in the history of science and philosophy in Islam due to the wide reception and assimilation of their monumental encyclopaedia, the Rasa'il Ikhwan al-Safa' (Epistles of the Brethren of Purity). This compendium contains fifty-two epistles offering synoptic accounts of the classical sciences and philosophies of the age; divided into four classificatory parts, it treats themes in mathematics, logic, (...) natural philosophy, psychology, metaphysics, and theology, in addition to didactic fables. The Rasa'il constitutes a paradigmatic legacy in the canonization of philosophy and the sciences in mediaeval Islamic civilization, and has also shown a permeating influence in Western culture. This is the third volume in a series presenting the very first critical edition of the Rasa'il in its original Arabic, complete with the first fully annotated English translation. Epistle 5: On Music examines not just the technical, scientific, and mathematical aspects of music, but its cosmic, psychological, and spiritual dimensions. Music completed the classical training of the quadrivium (the sine qua non for further studies in philosophy and theology), and, as with other epistles of this group, there is much emphasis on numeric proportions and the underlying cosmic order of the universe. Technical concepts such as rhythm, tone, metre, and melody, along with the lute and its tunings as these relate to the fourfold Galenic theory, lead to a consideration of the psychological applications and the ultimately spiritual nature of music. (shrink)
Quand Colbert fonda l’Académie des sciences dans le but de dynamiser l’industrie, aucun chimiste de l’Académie n’était encore susceptible de rationaliser l’art très empirique de la teinture. Au XVIIe siècle, la teinture n’était pas un sujet traité lors des séances de l’Académie, en revanche l’intérêt des académiciens pour cet art chimique a pris de l’ampleur dans les années 1750 sous l’impulsion de Pierre-Joseph Macquer et du Bureau du Commerce. Dans cet article, la présentation de l’art de la teinture à l’Académie (...) des sciences au XVIIIe siècle est centrée principalement sur les premiers travaux académiques sur la teinture, sur les mémoires de Macquer, ainsi que sur les prix et les publications sur la teinture proposés par l’Académie.Au cours du XVIIIe siècle, la teinture abandonnera le monde des artisans teinturiers pour intéresser le monde savant et les académiciens. La teinture acquerra ses lettres de noblesse, sortant des ateliers pour entrer à l’Académie avant de s’enseigner comme la chimie. (shrink)
This paper defends two theses about sensory objects. The more general thesis is that directly sensed objects are those delivered by sub-personal processes. It is shown how this thesis runs counter to perceptual atomism, the view that wholes are always sensed indirectly, through their parts. The more specific thesis is that while the direct objects of audition are all composed of sounds, these direct objects are not all sounds—here, a composite auditory object is a temporal sequence of sounds (whereas a (...) composite visual object is a spatial composite). Many composite objects are directly heard in the sense just mentioned. There is a great variety of such composite auditory objects—melodies, harmonies, sequences of phonemes, individual voices, meaning-carrying sounds, and so on. This diversity of auditory objects has an important application to aesthetics. Perceivers do not naturally or easily attend simultaneously to auditory objects that overlap in time. Yet, aesthetic appreciation depends on such an allocation of attention to overlapping objects. (shrink)
The prevalence of colourful metaphors and figurative language in critics’ descriptions of artworks has long attracted attention. Talk of ‘liquid melodies’, ‘purple prose’, ‘soaring arches’, and the use of still more elaborate figurative descriptions, is not uncommon. My aim in this paper is to explain why metaphor is so prevalent in critical description. Many have taken the prevalence of art-critical metaphors to reveal something important about aesthetic experience and aesthetic properties. My focus is different. I attempt to determine what metaphor (...) enables critics to achieve and why it is so well suited to helping them achieve it. I begin by outlining my account of what metaphors communicate and defend it against objections to the effect that it does not apply to art-critical metaphors. I then distinguish between two kinds of art-critical metaphor. This distinction is not normally drawn, but drawing it is essential to understanding why critics use metaphor. I then explain why each kind of metaphor is so common in criticism. (shrink)
These claims strike some philosophers as obviously false. “Hume’s confident assertions about the unobservability of beauty are breathtakingly counter-intuitive,” David McNaughton writes. “We see the beauty of a sunset; we hear the melodiousness of a tune; we taste and smell the delicate nuances of a vintage wine. Hume’s denial that we can detect beauty by the senses flies in the face of common experience” (McNaughton, 1988, p. 55). Understood as a phenomenological claim, this seems obviously correct—so obviously that one should (...) doubt whether Hume meant to be denying it. Surely when we find something beautiful, delicious, or even virtuous, we experience this as a matter of sensitivity to the observed object: the sunset, the wine, the person. But what kind of sensitivity is this? McNaughton intends to make a theoretical as well as a phenomenological objection to Hume; he claims that there is no difference in kind between the perception of value and other, more straightforward forms of perception. (shrink)
A distinction is made between imagination in the narrow sense and in the broad sense. Narrow imagination is characterised as the ability to "see" pictures in the mind's eye or to "hear" melodies in the head. Broad imagination is taken to be the faculty of creating, either in the strict sense of making something ex nihilo or in the looser sense of seeing patterns in some data. The article focuses on a particular sort of broad imagination, the kind that has (...) to do with creating, not a work of art, a scientific theory or a political vision but one's own life. We shape our lives through our actions, and these actions not only influence our future—a commonplace—but also determine our past, which is a new and more controversial perspective. (shrink)
In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without words, (...) literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)
: The life and work of Rousseau the musician and aesthetician has been largely neglected in the debate about Rousseau's views on women. In this paper, I shall introduce a new text and a new female figure into the conversation: Collette, the shepherdess in Le devin du village, an opera written by Rousseau in 1752. We see an ambiguity in Collette--the text often expresses one view while the music expresses another. When we take Collette's music seriously the following picture emerges: (...) the natural desire of women to be free, a fairly active female agency, an incipient rebellion against the social role of women, and a final acceptance of the role of wife. This view of Collette supports the thesis that for Rousseau women are not naturally subordinate to men but are taught to be subordinate because it is required for the maintenance of the patriarchal family, the cornerstone of civil society. We see many glimpses of Collette's true, unsocialized, nature, especially in the melodies she sings. It is in song, the first and hence most natural language of humans, that we see Collette's longing for freedom. But she ends by singing the praises of civil society, albeit a rural society, and thus implicitly accepting the subordination she is destined to suffer at Colin's hands. (shrink)
Language comes so naturally to us that we are apt to forget what a strange and miraculous gift it is. Over the next hour you will sit in your chairs listening to a man make noise as he exhales. Why would you do such a thing? Not because the sounds are particularly melodious, but because the sounds convey information in the exact sequence of hisses and hums and squeaks and pops. As you recover the information, you think the thoughts that (...) I want you to think. Right now I am conveying ideas about language itself, but with a slightly different sequence of hisses and pops I could be talking about anything from theories of the origin of the universe to the latest plot twists in your favorite daytime drama. The fundamental scientific problem raised by language is to explain this vast expressive power. What is the trick behind our ability to fill each other’s heads with so many kinds of thoughts? (shrink)
Smart MR contrast agents exhibit modulation of their relaxivity by specific physiological or biochemical trigger-events, while targeted MR contrast agents are envisioned to deliver the large gadolinium chelates into the target tissue. In an effort to develop novel smart and targeted MR contrast agents, the series of the DO3A based multifunctional chelating agents with the variable length of the side chain has been synthesized. They serve as valuable multipurpose precursors for contrast agents based on gadolinium chelates in the design of (...) relaxometric MR probes. The presence of the amino group in the side chain of the macrocycle allows for conversion into various functional groups (aminophosponates, aminocarboxylates, etc.) or for conjugation with different biomolecules, dyes, and polymers. Choice of the functional groups depends on the.. (shrink)
Language comes so naturally to us that we are apt to forget what a strange and miraculous gift it is. Over the next hour you will sit in your chairs listening to a man make noise as he exhales. Why would you do such a thing? Not because the sounds are particularly melodious, but because the sounds convey information in the exact sequence of hisses and hums and squeaks and pops. As you recover the information, you think the thoughts that (...) I want you to think. Right now I am conveying ideas about language itself, but with a slightly different sequence of hisses and pops I could be talking about anything from theories of the origin of the universe to the latest plot twists in your favorite daytime drama. The fundamental scientific problem raised by language is to explain this vast expressive power. What is the trick behind our ability to fill each other’s heads with so many kinds of thoughts? (shrink)
The life and work of Rousseau the musician and aesthetician has been largely neglected in the debate about Rousseau's views on women. In this paper, I shall introduce a new text and a new female figure into the conversation: Collette, the shepherdess in Le devin du village, an opera written by Rousseau in 1752. We see an ambiguity in Collette-the text often expresses one view while the music expresses another. When we take Collette's music seriously the following picture emerges: the (...) natural desire of women to be free, a fairly active female agency, an incipient rebellion against the social role of women, and a final acceptance of the role of wife. This view of Collette supports the thesis that for Rousseau women are not naturally subordinate to men but are taught to be subordinate because it is required for the maintenance of the patriarchal family, the cornerstone of civil society. We see many glimpses of Collette's true, unsocialized, nature, especially in the melodies she sings. It is in song, the first and hence most natural language of humans, that we see Collette's longing for freedom. But she ends by singing the praises of civil society, albeit a rural society, and thus implicitly accepting the subordination she is destined to suffer at Colin's hands. (shrink)
Homer, Leonardo da Vinci, Mozart, Shakespeare, and Tolstoy; Curie, Darwin, Einstein, Galileo, and Newton. What do these world-famous artists and scientists have in common?- apart from the fact that their achievements predate our own time by a century or more. Most of us would probably answer: all ten possessed something we call genius, which in each instance permanently changed the way that humanity perceived the world. But pressed to be more precise, we find it remarkably hard to define genius. -/- (...) Genius is highly individual and unique, of course, yet it shares a compelling, inevitable quality for professionals and the general public alike. Darwin's ideas are still required reading for every working biologist; they continue to generate fresh thinking and experiments around the world. So do Einstein's theories among physicists. Shakespeare's plays and Mozart's melodies and harmonies continue to move people in languages and cultures far removed from their native England and Austria. Contemporary 'geniuses' may come and go, but the idea of genius will not let go of us. Genius is the name we give to a quality of work that transcends fashion, celebrity, fame, and reputation: the opposite of a period piece. Somehow, genius abolishes both the time and the place of its origin. -/- This Very Short Introduction uses the life and work of familiar geniuses-and some less familiar-to illuminate both the individual and the general aspects of genius. In particular: the roles of talent, heredity, parenting, education, training, hard work, intelligence, personality, mental illness, inspiration, eureka moments, and luck, in the making of genius. (shrink)
The primary aim of this essay is to present a case for a heavily revised notion of heterophenomenology. l will refer to the revised notion as ‘enkinaesthesia’ because of its dependence on the experiential entanglement of our own and the other’s felt action as the sensory background within which all other experience is possible. Enkinaesthesia2 emphasizes two things: (i) the neuromuscular dynamics of the agent, including the givenness and ownership of its experience, and (ii) the entwined, blended and situated co-affective (...) feeling of the presence of the other(s), agential (for example, human, horse, cat, beetle) and non-agential (for example, cup, bed, apple, paper) and, where appropriate, the anticipated arc of the other’s action or movement, including, again where appropriate, the other’s intentionality. When the ‘other’ is also a sensing and experiencing agent it is their - in this case, the pair’s - affective intentional reciprocity, their folding, enfolding, and unfolding, which co-constitutes the conscious relation and the experientially recursive temporal dynamics that lead to the formation and maintenance of the deep integral enkinaesthetic structures and melodies which bind us together, even when they pull us apart. Such deeply felt enkinaesthetic melodies emphasise the dialogical nature of the backgrounded feeling of being. (shrink)
