The ability of powerful and well-funded interest groups to steer scientific research in directions that advance their goals has become a significant social concern. This ability is increasingly being recognized in the peer-reviewed literature and in the findings of deliberative expert consensus committees. For example, there is increasing recognition that efforts to address climate change have been stymied in part by a powerful network of conservative foundations, which fund think tanks and other organizations that constitute a “climate change counter movement”. (...) Sociologist Robert Brulle recently found that the total annual income for 91 powerful.. (shrink)

The SSIS SEL Brief Scales are multi-informant measures that were developed to efficiently assess the SEL competencies of school-age youth in the United States. Recently, the SSIS SELb was translated into multiple languages for use in a multi-site study across six European countries. The purpose of the current study was to examine concurrent and predictive evidence for the SEL Composite scores from the translated versions of the SSIS SELb Scales. Results indicated that SSIS SELb Composite scores demonstrated expected positive concurrent (...) and predictive relationships with scores from the Connor-Davidson Resilience Scale and negative relationships with scores from the problem behavior scales of the Strengths and Difficulties Questionnaire. Although there were a few exceptions, these patterns generally were consistent across informants and samples providing initial validity evidence for the Composite score from the translated versions of the SSIS SELb Scales. Limitations and future research directions are discussed. (shrink)

Catholic healthcare institutions live amidst tension between three intersecting primary values, namely, a commitment of service to the poor and vulnerable, promoting the common good for all, and financially sustainability. Within this tension, the question sometimes arises as to whether it is ever justifiable, i.e., consistent with Catholic identity, to place limits on charity care. In this article we will argue that the health reform measures of the Affordable Care Act do not eliminate this tension but actually increase the urgency (...) of addressing it. Moreover, we will conclude that the question of limiting charity care in a manner that is consistent with the obligations of Catholic identity around serving the poor and vulnerable, promoting the common good, and remaining financially sustainable is not a question of if, but of how such limits are established. Such limits, however, cannot be established in light of one overriding moral consideration or principle, but must be established in light of a multitude of principles guiding us to a holistic understanding of the interrelatedness of the moral dimensions of Catholic identity. (shrink)

Freemasonry was the most widespread form of secular association in eighteenth-century England, providing a model for other forms of urban sociability and a stimulus to music and the arts. Many members of the Royal Society and the Society of Antiquaries, for instance, were Freemasons, while historians such as Margaret Jacob have argued that Freemasonry was inspired by Whig Newtonianism and played an important role in European Enlightenment scientific education. This paper illustrates the importance of natural philosophy in Masonic rhetoric and (...) utilizes material from Masonic histories, lodge records and secondary works to demonstrate that scientific lectures were indeed given in some lodges. It contends, however, that there were other sources of inspiration for Freemasonry besides Newtonianism, such as antiquarianism, and that many other factors as well as the prevalence of Masonic lodges determined the geography of English scientific culture. Although the subject of Freemasonry and natural philosophy has great potential, as Jacob has demonstrated so well, much further work, especially in the form of prosopographical studies of provincial lodges, is required before the nature of the relationship between the two can be fully appreciated. (shrink)

The industrial revolution and the scientific revolution of the sixteenth and seventeenth centuries were two of the most important events in the whole of human history and the question of how these two relate to each other must therefore form one of the most vital of all inquiries in the history of science. As the industrial revolution began in England- and largely provincial England- the question of how scientific knowledge came to be disseminated to these regions forms a crucial part (...) of such an enquiry. Using Derby as a case study, this paper examines how Newtonian philosophy came to be spread, how and why science became a cultural activity as part of the Habermasean public sphere, and how scientific theory related to early industrial and technologicalventures in an English provincial town. The richness of Derby's scientific culture is revealed by the careers of John Whitehurst FRS, John Arden, Thomas Simpson FRS, Benjamin Parker and George Sorocold and the importance of science in the curriculum of the local Dissenting academy. (shrink)

R.K. Elliott's essays on aesthetics put forward a number of common themes that together constitute a unified approach to aesthetics. Throughout his writing, Elliott combines analytic rigour with sympathy for ideas in continental philosophy. This book, the first to gather together Elliott's key essays, powerfully illuminates the unifying role of imagination and the aesthetic in human experience.

Guattari Reframed presents a timely and urgent rehabilitation of one of the twentieth century's most engaged and engaging cultural philosophers. Best known as an activist and practicing psychiatrist, Guattari's work is increasingly understood as both eerily prescient and vital in the context of contemporary culture. Employing the language of visual culture and concrete examples drawn from it, this book introduces and reassesses the major concepts developed throughout Guattari's writings, asserting his significance as a revolutionary philosopher and cultural theorist, and invites (...) the reader to transform both their understanding of Guattari, and their lives through his ideas". (shrink)

Recent psychology research has established that people do not employ a simple unidimensional scale for attributions of personhood, increasing from non-sentient rocks to mentally complex humans. Rather, there are two personhood dimensions: agency (e.g. planning, deciding, acting) and experience (e.g. feeling, desiring, experiencing). Here we show that this subtle distinction also occurs in the semantic space of natural language. We develop computational-linguistics tools for measuring variation in agency and experience in language and validate the measures against human judgments. To demonstrate (...) the usefulness of the method, we map both dimensions of personhood in historical English-language corpora over the last 200 years. First, we show that while women are now perceived as having similar levels of agency as men, they are still perceived as more patient-like. Second, we show that domesticated animals have gradually gained higher attributions of experience, but not agency, over time. -/- . (shrink)

Common wisdom holds that communication is impossible when messages are costless and communicators have totally opposed interests. This article demonstrates that such wisdom is false. Non-convergent dynamics can sustain partial information transfer even in a zero-sum signalling game. In particular, I investigate a signalling game in which messages are free, the state-act payoffs resemble rock–paper–scissors, and senders and receivers adjust their strategies according to the replicator dynamic. This system exhibits Hamiltonian chaos and trajectories do not converge to equilibria. This (...) persistent out-of-equilibrium behaviour results in messages that do not perfectly reveal the sender's private information, but do transfer information as quantified by the Kullback–Leibler divergence. This finding shows that adaptive dynamics can enable information transmission even though messages at equilibria are meaningless. This suggests a new explanation for the evolution or spontaneous emergence of meaning: non-convergent adaptive dynamics. (shrink)

In our essay ‘What’s Historical About Historical Materialism?’, we drew two contrasts between the Darwinian theory of evolution (ET) and the Marxist theory of historical materialism (HM).1 We described the former as a ‘micro-theory’ and the latter as a ‘macro-theory’. We also argued that, in Darwinian theory, evolution is driven by exogenous forces, specifically, by natural selection induced by environmental factors; whereas historical materialism sees the transformation of a society from feudalism to capitalism and then to socialism as a consequence (...) of an endogenous process, involving ‘contradictions’ between forces and relations of production and class struggle. Nolan has taken issue with both of these contrasts; his view is that the two theories are more similar than our account allows. (shrink)

The concept of fitness began its career in biology long before evolutionary theory was mathematized. Fitness was used to describe an organism’s vigor, or the degree to which organisms “fit” into their environments. An organism’s success in avoiding predators and in building a nest obviously contribute to its fitness and to the fitness of its offspring, but the peacock’s gaudy tail seemed to be in an entirely different line of work. Fitness, as a term in ordinary language (as in “physical (...) fitness”) and in its original biological meaning, applied to the survival of an organism and its offspring, not to sheer reproductive output (Paul ////; Cronin 1991). Darwin’s separation of natural from sexual selection may sound odd from a modern perspective, but it made sense from this earlier point of view. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Teaching in the MuseumRika Burnham (bio) and Elliott Kai-Kee (bio)A class is studying a small painting by Rembrandt in the galleries of the J. Paul Getty Museum in Los Angeles. The museum educator has been inviting the assembled visitors to look ever more closely, guiding the class toward an understanding both of the painting itselfand of our reasons for studying it. The class has (...) been anything but passive—indeed, it has been lively. The painting is The Abduction of Europa (1632), a picture that depicts in delicate detail a story from Greek mythology, the kidnapping of the Phoenician princess Europa by Zeus in the guise of a white bull. The visitors have shared their observations, speculations, ideas. As the class concludes, the museum educator asks the participants to speculate on the painting's larger meaning, to say what they think this work is, finally, about, as revealed by their long discussion. The group's experience has clearly moved beyond the telling of a single story. One participant suggests that Rembrandt's work is about the fearlessness of traveling into the unknown. Another says that it concerns the story of the soul's leaving the earthly for the heavenly realm. When the class comes to an end, people move closer to the painting and continue their discussions.In the same museum, another museum educator is also conducting a group of students through the galleries. He begins with a Roman statue of Venus, followed by an eighteenth-century French terra-cotta bust of Madame Récamier by Joseph Chinard. For each sculpture, he asks the students to focus on only one detail, the hands. The students are encouraged to observe and take note of the sculpted figures' gestures, much as if they were studying a person. Time seems to slow as perception sharpens. The educator listens patiently as the students begin to "read" the sculptures as a whole through the expressiveness of the hands. The group moves on to a mysterious portrait by Millet in which the students discuss the nature of love, and [End Page 65] then to a painting of a Russian princess by Winterhalter, in which the artifice of all the details is suddenly theatrical, dazzling, and delightful. At the end, no one wants to leave.As museum educators we teach in many kinds of programs, and teach in many ways. Every museum educator brings unique gifts to the art of teaching through works of art. The two classes described above might seem at first glance quite different. The first museum educator stays with a single work of art for the entire session, constructs her class around the observations and ideas of the students, and trusts that through their collective experience, a larger meaning will emerge. The second educator inspires his students with a feeling of confidence by guiding their observations of a single feature common to several works, and then allows a main idea to emerge. The two classes, however, are also alike in certain essential ways. In both cases, the students and the instructor are animated, concentrated, focused, and active. Their investigation is tightly focused on the works under discussion, and the group together reaches for a sense of the artworks as a whole. At the end, when the participants cluster around the works of art, still wanting to continue the experience of discovery, the instructors know that theirstudents have understood that engagement with a work of art is a beginning, not an end.The opportunities museum educators have to teach and learn are granted to us by the collections of objects in the care of the institutions in which we work, and by the students and visitors we invite to consider these objects. These artworks also impose upon us a great obligation, to bring them alive for those we lead through the galleries. For ultimately, it is our devoted attention that keeps artworks alive generation after generation.This essay is the result of our work as museum educators. It began with a casual discussion about what constitutes good teaching, and what we can do to guide ourselves and our docent colleagues toward consistent and principled teaching in our museums. We... (shrink)

_Slow Cures and Bad Philosophers_ uses insights from the philosophy of Ludwig Wittgenstein to rethink bioethics. Although Wittgenstein produced little formal writing on ethics, this volume shows that, in fact, ethical issues permeate the entirety of his work. The scholars whom Carl Elliott has assembled in this volume pay particular attention to Wittgenstein’s concern with the thick context of moral problems, his suspicion of theory, and his belief in description as the real aim of philosophy. Their aim is not (...) to examine Wittgenstein’s personal moral convictions but rather to explore how a deep engagement with his work can illuminate some of the problems that medicine and biological science present. As Elliott explains in his introduction, Wittgenstein’s philosophy runs against the grain of most contemporary bioethics scholarship, which all too often ignores the context in which moral problems are situated and pays little attention to narrative, ethnography, and clinical case studies in rendering bioethical judgments. Such anonymous, impersonal, rule-writing directives in which health care workers are advised how to behave is what this volume intends to counteract. Instead, contributors stress the value of focusing on the concrete particulars of moral problems and write in the spirit of Wittgenstein’s belief that philosophy should be useful. Specific topics include the concept of “good dying,” the nature of clinical decision making, the treatment of neurologically damaged patients, the moral treatment of animals, and the challenges of moral particularism. Inspired by a philosopher who deplored “professional philosophy,” this work brings some startling insights and clarifications to contemporary ethical problems posed by the realities of modern medicine. _Contributors._ Larry Churchill, David DeGrazia, Cora Diamond, James Edwards, Carl Elliott, Grant Gillett, Paul Johnston, Margaret Olivia Little, James Lindemann Nelson, Knut Erik Tranoy. (shrink)

One of the remarkable developments in the contemporary study of Paul is the dramatic interest in his thought amongst European philosophers. This collection of insights from leading scholars makes accessible a discussion often elusive to those not already conversant in the categories of European philosophy"--Publisher description.

Rock Records explores the intricate entanglements between Anthropos and Geos through a wide range of writings about stone, from media theory and ecophilosophy to the role of stones in art and the aesthetics of viewing stones. Authors engage the activity, vitality, and relationality of lithic matter and articulate multiple modalities of 'geo-affection,' as well as forms of geo-mythology, geo-sociality, and occult lithography. As the initial issue in a new digital/intermedial series of SubStance aimed at interweaving creative and critical work, (...) Rock Records also features digital versions of essays with photo-rich content, as well as a virtual exhibition of viewing stones and a series of speculative studies in... (shrink)

For decades most scientists assumed that life emerged billions of years ago in a “primordial soup” somewhere on the Earth’s surface. Evidence is mounting, however, that life may have begun deep beneath the surface, perhaps near a volcanic ocean vent or even inside the hot crust itself. Since there are hints that life’s history on Earth extends back through the phase of massive cosmic bombardment, it may be that life started on Mars and came here later, perhaps inside rocks ejected (...) from the Red Planet by large impacts. The traffic of intact rocks between Mars and Earth is now an established fact, and experiments confirm that microbes could survive the rigours of the journey through space if cocooned within such material. Unfortunately, this planetary cross- contamination compromises astrobiologists’ hope of finding a second genesis in the solar system. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Three Ovidian Tails PAUL BAROLSKY Kneeling at the edge of a pond in push-up position, a beautiful nude boy crowned with flowers gazes down at the water in which he beholds his reflection. In love, he is enthralled. Thus, the image of Narcissus rendered by the Florentine painter Alessandro Allori in a work that has been largely overlooked until recently. Datable to the second half of the sixteenth (...) century, it now hangs in the Turkish Embassy in Washington, DC. In the distant background of the picture we behold Echo, who extends an arm upward seemingly in a gesture of despair, since she is rejected by Narcissus. She stands before a mass of rock, her left leg beginning to turn to stone, the very stone into which she vanishes as only her voice remains when she echoes her beloved. The painting abounds in Alessandro Allori, Narcissus. Photograph © Patricia Rubin. arion 26.3 winter 2019 closely observed passages such as the little fish in the pond, one of which has captured a worm. There are other notable details such as the crab on a rock in the foreground, or the clusters of pendulous, ripe grapes, fruit of Bacchus, to whom androgynous Narcissus is likened in Ovid’s Metamorphoses. Allori also employs poetic simile in his picture, since the fingers of the youth’s left hand rhyme with the finger-like roots that emerge from the water. These roots are magnified in turn by their reflected image on the water’s surface. 136 three ovidian tails Abraham Janssens, Nymph and Pan Among the Reeds. AKG / Museen Böttcherstra ße. The apex of the picture, we might say, is baby Cupid who, hovering above, aims his dart at Narcissus and thus arouses the boy’s desire. The shape of Cupid’s bow echoes that of Narcissus ’s prominent buttocks which are framed by the attractive, bright golden drapery fluttering prominently around the youth’s posterior. One might well say that Allori features the buttocks of Narcissus’s body most provocatively in a kind of butt which recalls that of Cupid in the famous Venus, Cupid, Folly, and Time painted by the artist’s teacher, Bronzino. What Allori pictures is not exactly what Ovid writes. It is, however, how Allori imagines the Narcissus of Ovid’s tale. Allori is not alone among Ovidian artists in focusing on the backside of the human body. The posterior is especially prominent in another mythological picture, this one from the early seventeenth century, executed by a disciple of Rubens, Abraham Janssens. This work has found its way to Bremen, where it is now housed in the Ludwig Roselius Museum. It illustrates Pan’s pursuit of Syrinx, who is metamorphosed into reeds in a story told by Mercury in order to put Argus asleep. Ovid is Janssens’s point of departure. The artist depicts the moment when a muscular Pan with a ruddy, almost leathery face embraces Syrinx in her new form as a bunch of reeds. Janssens departs from Ovid with a most novel invention. He depicts a woman, seen from behind, who dominates the composition. With sharp contrasts of lights and darks, vestiges of Caravaggio, the painter emphasizes the female’s imposingly broad backside, which is framed by a billowing, bright, attention-grabbing red drapery that she seems to hold across the front of her body. Could it be that Janssens here alludes to the backside of Syrinx as Pan would have seen it when he chased her? It would seem that we are given not only a view of Pan embracing reeds, we are simultaneously given a Pan’s-eye view of Syrinx’s prominent and provocative backside before her metamorphosis. I wish to consider one final example of the derrière in Ovidian art, this one prominent in a picture painted well Paul Barolsky 137 over a hundred years after Janssens worked: Louis-JeanFran çois Lagrenée’s Abduction of Deianira by the Centaur Nessus, a work which is now in the Louvre. In Ovid’s story, Hercules arrives with his bride Deianira at the shore of the river Evenus where she is abducted by Nessus, who flees only to have Hercules shoot him with... (shrink)

In the early 1970’s, the research submarine, Alvin explored a system of volcanic vents on the floor of the Pacific Ocean and biologists were surprised to see a variety of organisms living near the vents in total darkness and at enormous pressures thereby hinting that life on Earth is not restricted to the near surface only. The discovery that microbes dwell deep in apparently solid rock gives credence to the theory that life can be transported between planets inside material (...) blasted into space by big impacts. (shrink)

The problem of life’s origin remains one of the great outstanding challenges to science. Ever since Charles Darwin mused about a “warm little pond” incubating life beneath sunny primeval skies, scientists have speculated about the exact location of this transforming event. Nearly a century and a half later, we remain almost completely ignorant of the physical processes that led from a nonliving chemical mixture to the first autonomous organism. However, some progress at least has been made on tracking down where (...) and when life first established itself on Earth. Fossil evidence suggests that the biological record extends back at least 3.5 billion years, pointing to a still earlier origin1. But this presents a problem. The cratering record of the moon implies that Earth was subjected to intense bombardment by large comets and asteroids over an extended duration until about 3.8 billion years ago. The largest of these impacts would have released enough energy to swathe the planet in incandescent rock vapour, boiling the oceans and sending sterilizing heat pulses a kilometre into the exposed crust2. This unpromising setting – hardly a secure one for warm little ponds – has prompted some astrobiologists to conjecture that life began somewhere else and came to Earth readymade3. Favourite among extraterrestrial originating locations is the planet Mars4. (shrink)

Rock art - paintings, and pecked or engraved images on rocks, whether in caves, shelters, or in the open-air - exists in all but a couple of countries of the world [Bahn, 1998], It spans a period from at least 35,000 years ago to historic times, comprises many millions of images from hundreds of thousands of sites, and thus constitutes the vast majority of the world's art, and art history. It is a phenomenon that has seen a huge upsurge (...) of interest in the last few decades, with not only numerous publications and conferences, but also a proliferation of calendars, T-shirts, mugs, jewellery, and garments bearing rock art images. Many people who are famous for other things have worked on or published rock art - for example, scholars such as Mary Leakey or authors like Joy Adamson or Erle Stanley Gardner. Rock art studies have always been the domain of the “amateur” as well as the “professional”, and amateurs remain of huge importance in this field. Indeed, most of the principal rock art organisations, along with their journals, were created by, are run by, and consist largely of amateur enthusiasts who include some of the world's foremost specialists. The growing popularity of the art brings an ever-increasing risk of pollution, damage, and vandalism, as well as outright thefts of wall or cave images. The rock art associations are dedicated to the discovery, recording, and conservation of rock art, and play a major role in striving to teach schoolchildren and adults alike about the incalculable importance of this irreplaceable, universal heritage and about the need to respect and protect it. (shrink)

This article contends that the influence of Australian rock musician Lobby Loyde has been overlooked by Australia’s popular music scholarship. The research examines Loyde’s significance and influence through the neglected sphere of his work (1966–1980) with The Coloured Balls, The Purple Hearts, The Wild Cherries, The Aztecs, Southern Electric, Sudden Electric and Rose Tattoo, and his role as producer in the late-1970s until his death. First, it explores how he has been discussed by his musical peers and respected Australian (...) rock historians. Second, it details Loyde’s musical origins and work with early bands during the period in which he was first referred to as Australia’s first guitar hero. Third, it investigates the career and influence of The Coloured Balls, their relationship with the 1970s youth subculture known as the ‘sharpies’, and the media-fuelled moral panic which surrounded both the band and the sharpies. Fourth, it assesses Loyde’s work as a producer in the 1980s, and late-in-life recognition by the Australian music industry. In doing so, the article shows the nature and importance of Loyde’s contribution to Australia’s popular music industry and discusses why he is only known to a strong but small fraction of the Australian public. (shrink)

What's the point of time travel? Not to change the past; no matter how carefully a time traveler plans, all of her attempts to change the past end in failure. Paul Horwich has argued that the implausibility of such failures gives us reason to doubt that there will be frequent time travel to the local past. I defend a modified version of Horwich's argument and show how we might gain evidence about the chance of there being frequent time travel (...) in the future without having any information that explains why that chance value obtains. (shrink)

This essay is not about contemporary French philosophy, strictly speaking, but something which concerns it—an important episode in its modern history. Its intention is to deal, in very schematic terms, with the nature and evolution of French Marxism from the mid-1950s to the end of the 70s, focusing on two of its best-known and most influential representatives, Jean-Paul Sartre and Louis Althusser, and relating the internal history of their ambitious reconstructions of Marxism to the wider, non-theoretical history of which (...) they were a part— and for whose comprehension they sought to supply the conceptual instruments. Maurice Merleau-Ponty's balance-sheet of a century of Marxism, Adventures of the Dialectic, published in 1955, provides my starting point and explains my title. (shrink)

This paper is an invited response to a one published by David Elliott in The Music Educator in 2012 in which music teachers were enjoined to encourage children to use music’s expressive power as a political tool in pursuit of social justice. While in agreement with him that this can be an appropriate use of music, there is a curious avoidance of controversy in Elliott’s article that might frustrate that end in that nothing is said about whether students (...) should be prompted to critically examine sacred myths, such as the American Dream or historical narratives, and pedagogical practices that might limit their understanding of social problems. Much of my response is given to consideration of some of the possible reasons for Elliott’s avoidance of controversy, including an over-emphasis on “doing” or “making” music that might leave little curricular time for the kinds of study and controversy and debate that are essential to understanding social (in)justice. (shrink)

I begin by expressing thanks to Paul Rabinow. As a Foucault scholar, I am personally indebted to him for that wonderful book he wrote with Hubert Dreyfus, Michel Foucault: Beyond Structrualism and Hermeneutics, which served as my introduction to the Foucauldian philosophical enterprise. I am honored to respond to his Coss lecture on the philosophical methods of Foucault and Dewey that shape his work in philosophy and anthropology.I begin by quoting two lengthy yet revealing passages—one from Foucault's "Life: Experience (...) and Science" and the other from Dewey's "The Need for a Recovery of Philosophy"—that will set the stage for this discussion:Phenomenology expected "lived experience" to supply the originary meaning .. (shrink)

Two claims are discussed. One is that works of art are a product of nature, no less than rocks and flowers. The other is that nature itself is an artifact, constructed by scientists and artisans, throughout centuries, from a partly yielding, partly resisting material of unknown properties. Since both claims are supported by convincing evidence, the world appears much more slippery than commonly assumed by rationalists. Intellectual generalizations around ?art,? ?nature? or ?science? are simplifying devices that can help us order (...) the abundance that surrounds us. They should be understood as such?opportunistic tools, not final statements on the objective reality of the world. (shrink)

I reply in this short note to some criticisms that Alan Rocke has recently made in this journal.

Seeing Nature is a series of true stories or parables that offer tools for understanding relationships in the natural world. Many of the stories take the reader to wild landscapes, including canyons, tundra, and mountain ridges, while others contemplate the human-made world: water-diversion trenches and supermarket check-out lines. At one point, Krafel discovers a world in a one-inch-square patch of ordinary ground. Inspiring for parents and teachers seeking to encourage excitement about the positive role of people in nature, Krafel's work (...) harkens to St. Exupery's The Little Prince, Annie Dillard's Pilgrim at Tinker Creek, and Jean Giono's The Man Who Planted Trees. As Barbara Damrosch has noted: [This book] is a gift.... With curiosity, wit, and a spare and graceful style, Krafel notes why birds in flocks land as they do, how islands can move upstream in a river, how kelp forests, swaying gently, break the force of the sea's power, how tundra plants create whole ecosystems on bare rock from mere specks of life. Yet there are no long-winded sermons about the woods, or cute anthropomorphizations of animals. The book's economical, unsentimental style is part of its originality. Paul Krafel's years as a park ranger afforded him time to walk and think--his job was to observe the world around him. He is now a teacher, creating a curriculum for young people that is built on a startlingly simple truth: The world around us is an extended conversation between "upward spirals"--nature in regenerative, procreative modes--and downward spirals toward entropy and disintegration. As nature refreshes and rebuilds, the downward spirals are overcome. Nature's process becomes the process of replenishing hope. (shrink)

According to Church’s thesis, we can identify the intuitive concept of effective computability with such well-defined mathematical concepts as Turing computability and partial recursiveness. The almost universal acceptance of Church’s thesis among logicians and computer scientists is puzzling from some epistemological perspectives, since no formal proof is possible of a thesis that involves an informal concept such as effectiveness. Elliott Mendelson has recently argued, however, that equivalencies between intuitive notions and precise notions need not always be considered unprovable theses, (...) and that Church’s thesis should be accepted as true.I want to discuss a thesis that is nearly as important in current research in computer science as Church’s thesis. I call the newer thesis the tractability thesis, since it identifies the intuitive class of computationally tractable problems with a precise class of problems whose solutions can be computed in polynomial time. After briefly reviewing the theory of intractability, I compare the grounds for accepting the tractability thesis with the grounds for accepting Church's thesis. Intimately connected with the tractability thesis is the mathematical conjecture, whose meaning I shall shortly explain, that P≠NP. Unlike Church's thesis, this conjecture is precise enough to be capable of mathematical proof, but most computer scientists believe it even though no proof has been found. As we shall see below, understanding the grounds for acceptance of the conjecture that P≠NP has implications for general questions in the philosophy of mathematics and science, especially concerning the epistemological importance of explanatory and conceptual coherence. (shrink)

PETRIVERSE. Noun.A world composed of rocks; e.g., a rock garden.Words composed of rocks; i.e., verse written in and/or about stone. [Latin petra, rock; Old English vers, from Latin versus a furrow]The Petriverse of Pierre Jardin is a xeriscape in the California Heights neighborhood of Long Beach, California, where many residents have taken advantage of a city program that subsidizes the conversion of grass lawns into drought-tolerant landscapes. The garden was conceived in 2009 when Pierre Jardin coined the neologism (...) 'petriverse' to denote both a world composed of rocks and words composed of rocks. The site has become known for two distinctive features: it presents constantly changing, eye-catching displays of... (shrink)

Courts frequently engage in the weighing of competing values; perhaps most obviously, such balancing constitutes an integral aspect of proportionality analysis in many states’ constitutional law. However, such balancing raises a difficult theoretical question: What does it mean that one value “outweighs” another in any particular case? If the values at issue are incommensurable — as they often will be — such balancing may appear to break down. As Justice Scalia has stated, balancing in the presence of incommensurable values “is (...) more like judging whether a particular line is longer than a particular rock is heavy.” It may appear that if a judge is asked in a particular case to decide, for example, whether a state interest is sufficiently strong to justify the limitation of a constitutional right, he will be forced to a) either abandon the notion of a genuine plurality of values, or b) make an arbitrary decision. This article argues that neither of these options need be accepted and that rational choice is indeed possible in the presence of incommensurable values. Specifically, it contends that the Nash bargaining solution provides a means, at least in certain circumstances, of rationally understanding and undertaking the weighing of distinct and mutually irreducible values which adjudication frequently requires. The Nash framework can both elucidate proportionality analysis by providing a social choice-based framework for understanding the structure of proportionality analysis and also justify proportionality analysis by demonstrating that the weighing of competing values is not necessarily mere judicial hand-waving. (shrink)

Review of The Nietzschean Self: Moral Psychology, Agency, and the Unconscious by Paul Katsafanas.

CO-MODIFIED: Rocks on Vinyl comprises nine 6' x 3' banners displayed like convention signage. They are presented as a series of speculative geomedia landscapes that explore contemporary human entanglements and collaborations with the lithosphere, activities that are transforming the earth's surface and registering in its stratified depths. Animated by an affective, aesthetic appreciation of stone, these works invite reflection and discernment in a historical moment defined as the geologic now.1The stories of earth and humans are written in stone, from tectonic (...) plate movements and the rock record to Neolithic cave paintings and stone circles. These histories are becoming increasingly inextricably intertwined, as... (shrink)