This article analyses some of the anatomical waxes in the Museo della Specola in Florence. Executed in at least two different periods in the history of Florentine wax modelling , they project culturally determined images of the body which are analysed from a historico-semiotic perspective. "Rotten corpses," a "disembowelled woman" and a "flayed man" emerge as salient figures in the collection and reveal the close tie between anatomical representations and aesthetics, social relations and religious scruples, in other words, the (...) culture tout court which produced them. (shrink)

. This article analyses some of the anatomical waxes in the Museo della Specola in Florence. Executed in at least two different periods in the history of Florentine wax modelling, they project culturally determined images of the body which are analysed from a historico-semiotic perspective. “Rotten corpses,” a “disembowelled woman” and a “flayed man” emerge as salient figures in the collection and reveal the close tie between anatomical representations and aesthetics, social relations and religious scruples, in other words, the (...) culture tout court which produced them. (shrink)

: This article analyses some of the anatomical waxes in the Museo della Specola in Florence. Executed in at least two different periods in the history of Florentine wax modelling (in the late 17th century and between the 18th and 19th centuries), they project culturally determined images of the body which are analysed from a historico-semiotic perspective. "Rotten corpses," a "disembowelled woman" and a "flayed man" emerge as salient figures in the collection and reveal the close tie between anatomical (...) representations and aesthetics, social relations and religious scruples, in other words, the culture tout court which produced them. (shrink)

This article deals with a phenomenological standpoint on paradoxicality of image-consciousness, i.e., an analogical representation in which an image possesses material support. Contrary to tradition, E. Husserl thought of imagination as being both an intuitive and a mediate act. Husserl’s opinion results from paradoxical nature of an image itself: an image appears but it doesn’t exist, while the exhibited thing does exist but doesn’t appear in proper sense. The paradoxicality of an image results in its double conflict — with actual (...) present and with Bildsujet. Initially, Husserl considered that the more analogous features an image possesses the less conflict exists between it and Bildsujet, but then his own experience made him change his mind. Examining a wax figure example, he came to the conclusion that this perfectly human-like object is rather a fiction than an image for it is constituted in a position-taking intention, not in a neutralized one. However, despite we’ve got knowledge of illusory nature of such an object our consciousness keeps on fluctuating between an imaging intention and a perceptual one. Unlike Husserl neither J.-P. Sartre nor M. Richir draws a distinction between an image and an illusion. Sartre considers the imaginary in its radical form to be a world of schizophrenic. As for Richir, he supposes the imaginary to be a mass-consumption product being used for ideological manipulations. He follows Plato’s intellectual strategy and characterizes an image as εἴδωλον which represents the reality instead of reaching it. Being saturated by visible an image lacks any gap that would give an impulse to a work of imagination. At the same time, Richir admits that simulacre does relate to art, whereas an artefact doesn’t. An artefact is made by technical device which imitates not reality but consciousness. Thus, an artefact in its turn is not a reality illusion but an illusion of a reality illusion. Its hallucinatory effect makes us believe that we look into a mirror of reality as if a technical agent had better access to it than a human eye does. (shrink)

When we inquire into the nature of works of art we can see at a glance that there is a good deal of evidence against aesthetic idealism, the view that artworks are, in the final analysis, imaginary objects in the minds of their creators. We believe, for instance, that the National Gallery not only contingently but in some sense necessarily weighs more than merely the sum of the empty building, the people in it, and the assorted fixtures. This sum must (...) also include the weight of canvases, the oils on them, carved stone and marble, and so on, all of which add up to substantially more than nothing, which is at least the approximate weight of imaginary things. We know that it takes considerably more than a verbal utterance or acoustical blast to transport an artwork, and we also know that a visit to the gallery is not going to amount to an afternoon spent with wax figures of unicorns, flying horses, present and bald kings of France or, for that matter, talking teapots. In short, intuition protests against the idealist theory that if works of art are imaginary objects, they cannot be the things we go to see in the gallery; and if they are imaginary objects then, like a waxen Peter Pan, they are surely not art. Mellon and Meinong simply have different kinds of collections. (shrink)

Phantasmagoria explores ideas of spirit and soul since the Enlightenment; it traces metaphors that have traditionally conveyed the presence of immaterial forces, and reveals how such pagan and Christian imagery about ethereal beings are embedded in a logic of the imagination, clothing spirits in the languages of air, clouds, light and shadow, glass, and ether itself. Moving from Wax to Film, the book also discusses key questions of imagination and cognition, and probes the perceived distinctions between fantasy and deception; it (...) uncovers a host of spirit forms--angels, ghosts, fairies, revenants, and zombies--that are still actively present in contemporary culture. It reveals how their transformations over time illuminate changing ideas about the self. Phantasmagoria also tells the accompanying story about the means used to communicate such ideas, and relates how the new technologies of the Victorian era were applied to figuring the invisible and the impalpable, and how magic lanterns (the phantasmagoria shows themselves), radio, photography and then moving pictures spread ideas about spirit forces. As the story unfolds, the book features the many eminent men and women--scientists and philosophers--who in the Society of Psychical Research applied their considerable energies to the question of other worlds and other states of mind: they staged trance seances in which mediums produced spirit phenomena, including ectoplasm. The book shows how this often embarrassing story connects with some of the important scientific discoveries of a fertile age, in psychology and physics. Over a sequence of twenty-eight chapters, with over thirty illustrations in color and black and white, Phantasmagoria thus tells an unexpected and often uncomfortable story about shifts in thought about consciousness and the individual person, from the first public waxworks portraits at the end of the eighteenth century to stories of hauntings, possession, and loss of self as in the case of the zombie, a popular figure of soulessness, in modern times. (shrink)

This book consists of a collection of essays written between 1965 and 1981. Some have been published elsewhere; others appear here for the first time. Although dealing with different figures and different periods, they have a common theme: all are concerned with examining how the method of hy pothesis came to be the ruling orthodoxy in the philosophy of science and the quasi-official methodology of the scientific community. It might have been otherwise. Barely three centuries ago, hypothetico deduction was (...) in both disfavor and disarray. Numerous rival methods for scientific inquiry - including eliminative and enumerative induction, analogy and derivation from first principles - were widely touted. The method of hypothesis, known since antiquity, found few proponents between 1700 and 1850. During the last century, of course, that ordering has been inverted and - despite an almost universal acknowledgement of its weaknesses - the method of hypothesis (usually under such descriptions as 'hypothetico deduction' or 'conjectures and refutations') has become the orthodoxy of the 20th century. Behind the waxing and waning of the method of hypothesis, embedded within the vicissitudes of its fortunes, there is a fascinating story to be told. It is a story that forms an integral part of modern science and its philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Image and SilenceGiorgio AgambenTranslated by Leland de la Durantaye (bio)[End Page 94]In the Roman pantheon there is a goddess named Angerona, represented with her mouth bound and sealed (ore obligato signatoque).1 Her finger is raised to her lips as if to command silence. Scholars claim that she represents, in the context of pagan mystery cults, the power of silence, although there is no consensus among them as to how (...) to understand this power. Etymologically speaking, myein, the root of the Greek word mysterion, means “to close the mouth, to silence.” At the beginning of the sacred rites in Eleusis a herald “commanded silence” (epittatei tēn siōpen). It is said that that the initiates into these Eleusinian mysteries were required to maintain absolute silence concerning what they had seen and heard during their initiation. Our question is how to understand this silence. Was it a prohibition aimed at keeping a secret doctrine from the uninitiated? Or did it concern, instead, something truly impossible to say?To begin we might ask what sense there might have been in the obligation to remain silent given that it was possible for anyone—including slaves, and thus, potentially, the entire population of Athens—to be initiated into the mysteries. In his early work, “On Philosophy,” Aristotle affirmed that, “the initiates do not need to learn something (mathein ti), but, instead, to be disposed to something, to experience and to undergo something (pathein kai diatethēnai).”2 It would therefore be possible that in the ancient mystery cults the initiate did not learn a doctrine that could be expressed in words (yet had to remain secret), but, instead, experienced something essentially silent, something impossible to say. “A great awe in face of the gods,” we read in the Homeric ode to Demeter, “silences the voice.”3The impossibility of speaking—and the power of silence—has two forms, one joyful and the other disturbing. In myth muteness is often associated with rape. The Romans tell the story of Lara who was punished for her inclination to gossip by being rendered mute and who was then raped in a sacred wood by Mercury (who took advantage of her impossibility of speaking). Before being transformed into a swallow Philomela was raped by Tereus, who cut off her tongue to prevent her from recounting his misdeed. Persephone, raped, kidnapped, and conducted to Hades, remained there silent as the dead. In every one of these cases silence is the painful experience of a privation of speech, of being unable to say what one wishes to say.In Gnostic mythology, the preexisting, eternal, uncreated God contains within himself a female figure which is his silence, Sigē. From his union with Silence Thought is born. “Sigē,” we read in a Valentinian text, “is the mother of all the beings that have emerged from the Abyss. He who has failed to say the unsayable has silenced it; he who was understood the unsayable, has declared it unsayable.”4 Here too silence appears as the experience of an impossibility of saying, as a privation. It is in opposition to this abyssal figure of silence that the church fathers affirmed the primacy of the logos in which God is revealed. Nevertheless, of the power of silence Heidegger would write: “This primordial silence is more powerful than any human potentiality. No one, on his or her own, has ever invented language—that is, has been strong enough to break the power of this silence.”5 [End Page 95]In Kafka’s parable on Ulysses, we are told that the silence of the Sirens is more perilous than their song, and that Ulysses—who realized, as his ship neared them, that the Sirens were silent—put on an act to protect himself from this silence, plugging his ears with wax and having his men tie him to the mast.6 In Kafka’s retelling of the tale, the silence of the Sirens represents a zero degree of song and, following a stubborn tradition that sees in absence the most extreme form of presence, also represents an at once zero and ultimate degree of reality. In this sense Heidegger could write... (shrink)

Throughout the Covid-19 pandemic, people have been eager to learn what factors, and especially what public health policies, cause infection rates to wax and wane. But figuring out conclusively what causes what is difficult in complex systems with nonlinear dynamics, such as pandemics. We review some of the challenges that scientists have faced in answering quantitative causal questions during the Covid-19 pandemic, and suggest that these challenges are a reason to augment the moral dimension of conversations about causal inference. We (...) take a lesson from Martha Nussbaum—who cautions us not to think we have just one question on our hands when we have at least two—and apply it to modeling for causal inference in the context of cost-benefit analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 53-66 [Access article in PDF] Art Selection, or the Preservation of Artworks in the Struggle for Art Christopher Perricone The argument of George C. Williams's book Adaptation and Natural Selection is against what biologists call the group selectionist view — that individuals will act on behalf of their species, or at least on behalf of the group to which they belong.1 Williams (...) showed, and now most biologists agree, "no creature could ever evolve the ability to help its species at the expense of itself. Only when the two interests coincided would it act selflessly."2 According to Matt Ridley, Williams is one of the towering figures in contemporary biology. Williams helps us to understand better what natural selection is and consequently helps us to understand better our place in the world. Williams claims that when we are dealing with life, "we are forced to invoke natural selection to achieve a complete explanation of an observed system."3 Physics and chemistry alone are not sufficient to explain life. Williams gives the example of a falling apple. If one has to explain the trajectory of the apple, the principles of mechanics are sufficient for providing an adequate explanation of the phenomenon. If, however, we were asked how the apple acquired its various properties, and why it has these properties instead of others, we would need the theory of natural selection, at least by implication. Only thus could we explain why the apple has a waterproof wax on the outside...why it contains dormant embryos....We would find that an impressive list of structural details and processes of the apple can be understood as elements of a design for an efficient role in the propagation of the tree from which it came."4Of course, a little over a hundred years before Williams published his book, Charles Darwin published Origin of Species, in which natural selection is the linchpin of his theory of evolution. Natural selection for Darwin not only helped to explain the competitive climate of the living world but its luscious fecundity as well. Natural selection works like this: Let's say you [End Page 53] have a population of large beaked and small beaked birds. The environment in which the birds live provides them with an abundant and nutritious supply of both large and small seeds. Typically the small beaked birds eat the small seeds. The large beaked birds are capable of eating both small and large seeds. However, a blight occurs killing off all the small seed producing trees causing the food supply of the small beaked birds to diminish to virtually nil. Given that the small beaked birds are unable to feed on the continued supply of large seeds, they are selected out or eliminated from that environment: either they must seek out another environment, or they die. The large beaked birds, however, are in this case more adaptable to the environment because they can eat large seeds, survive, and pass on their largebeaked traits to the next generation. Darwin characterizes this process as "the struggle for life." He says: Owing to this struggle, variations, however slight and from what ever cause proceeding, if they be in any way profitable to the individuals of a species, in their infinitely complex relation to other organic beings and to their physical conditions of life, will tend to the preservation of such individuals, and will generally be inherited by the offspring. The offspring, also, will thus have a better chance of surviving, for, of the many individuals of any species which are periodically born, but a small number can survive. I have called this principle, by which each slight variation, if useful, is preserved, by the term Natural Selection, in order to mark its relation to man's power of selection. But the expression often used by Mr. Herbert Spencer of the Survival of the Fittest is more accurate, and is sometimes equally convenient.5Darwin sums up his discussion of natural selection by saying that the idea explains... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 53-66 [Access article in PDF] Art Selection, or the Preservation of Artworks in the Struggle for Art Christopher Perricone The argument of George C. Williams's book Adaptation and Natural Selection is against what biologists call the group selectionist view — that individuals will act on behalf of their species, or at least on behalf of the group to which they belong.1 Williams (...) showed, and now most biologists agree, "no creature could ever evolve the ability to help its species at the expense of itself. Only when the two interests coincided would it act selflessly."2 According to Matt Ridley, Williams is one of the towering figures in contemporary biology. Williams helps us to understand better what natural selection is and consequently helps us to understand better our place in the world. Williams claims that when we are dealing with life, "we are forced to invoke natural selection to achieve a complete explanation of an observed system."3 Physics and chemistry alone are not sufficient to explain life. Williams gives the example of a falling apple. If one has to explain the trajectory of the apple, the principles of mechanics are sufficient for providing an adequate explanation of the phenomenon. If, however, we were asked how the apple acquired its various properties, and why it has these properties instead of others, we would need the theory of natural selection, at least by implication. Only thus could we explain why the apple has a waterproof wax on the outside...why it contains dormant embryos....We would find that an impressive list of structural details and processes of the apple can be understood as elements of a design for an efficient role in the propagation of the tree from which it came."4Of course, a little over a hundred years before Williams published his book, Charles Darwin published Origin of Species, in which natural selection is the linchpin of his theory of evolution. Natural selection for Darwin not only helped to explain the competitive climate of the living world but its luscious fecundity as well. Natural selection works like this: Let's say you [End Page 53] have a population of large beaked and small beaked birds. The environment in which the birds live provides them with an abundant and nutritious supply of both large and small seeds. Typically the small beaked birds eat the small seeds. The large beaked birds are capable of eating both small and large seeds. However, a blight occurs killing off all the small seed producing trees causing the food supply of the small beaked birds to diminish to virtually nil. Given that the small beaked birds are unable to feed on the continued supply of large seeds, they are selected out or eliminated from that environment: either they must seek out another environment, or they die. The large beaked birds, however, are in this case more adaptable to the environment because they can eat large seeds, survive, and pass on their largebeaked traits to the next generation. Darwin characterizes this process as "the struggle for life." He says: Owing to this struggle, variations, however slight and from what ever cause proceeding, if they be in any way profitable to the individuals of a species, in their infinitely complex relation to other organic beings and to their physical conditions of life, will tend to the preservation of such individuals, and will generally be inherited by the offspring. The offspring, also, will thus have a better chance of surviving, for, of the many individuals of any species which are periodically born, but a small number can survive. I have called this principle, by which each slight variation, if useful, is preserved, by the term Natural Selection, in order to mark its relation to man's power of selection. But the expression often used by Mr. Herbert Spencer of the Survival of the Fittest is more accurate, and is sometimes equally convenient.5Darwin sums up his discussion of natural selection by saying that the idea explains... (shrink)

The miracle play ‘Erscheinung am Lichtmesstage’ of the late medieval ‘Passional’ offers a literary interpretation of the ‘Candlemas’ and its procession with lighted candles. After a woman has been enraptured into transcendent space, she partakes in a light procession together with the Virgin Mary and various other figures. Each of the participants carries a candle, whose light, as the text says, is sacrificed at the end of the procession. One candle, however, becomes subject of a dispute between the woman (...) and a messenger from the Virgin Mary, causing the candle to split in two. The text repeatedly addresses the actual touching of the candle, suggesting that this wax artefact plays an essential role in bridging the immanent and transcendent. This article explores the candle as a ‘Semiophore’, revealing the broad semantic spectrum of the candle and its light. Through the acts of giving, holding, depositing, seizing, pulling, braking, and touching as well as possessing and keeping the candle become the locus of multiple meanings. Ultimately, it functions as a bridge between the ordinary and the divine. (shrink)

Michele Kennerly's ambitious book sends a gust of fresh air through the field of ancient rhetoric. But that figure doesn't really suit her metaphorics—such a central aspect of the project. To hone in on these, we need to come down to earth—to the material substance of wax tablets and papyrus book rolls, and the bodies of text produced on them. Editorial Bodies is a study of the ways ancient Greek and Roman poets and orators engaged in working on and over (...) texts in a process of "recursive composing" with consequences exceeding any narrow considerations of grammatical niceties. As Kennerly explains at the outset through a careful etymological introduction, our English word... (shrink)

Michele Kennerly's ambitious book sends a gust of fresh air through the field of ancient rhetoric. But that figure doesn't really suit her metaphorics—such a central aspect of the project. To hone in on these, we need to come down to earth—to the material substance of wax tablets and papyrus book rolls, and the bodies of text produced on them. Editorial Bodies is a study of the ways ancient Greek and Roman poets and orators engaged in working on and over (...) texts in a process of "recursive composing" with consequences exceeding any narrow considerations of grammatical niceties. As Kennerly explains at the outset through a careful etymological introduction, our English word... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Poems Ancient and Contemporary HELAINE L. SMITH On the cover of Like: Poems by A. E. Stallings is a double photograph of a double image: two ancient carved heads, in profile and facing each other, of the pole horses of a quadriga, a four-horse chariot, dated about 570 BC, and currently in the collection of The Acropolis Museum. The marble horse in profile on the right side of the (...) cover, looking to the left, has a longer neck and face, and is undamaged except for a hairline crack at the neck. Its counterpart has a broader cheek, with light chipping above the nostril and an ear broken off. But they so mirror each other, they are so “like,” that at first glance one might suppose the photographs to be the right and left sides of the same horse. The bottom half of the cover of Like is an exact replica of the top, but the tinting is different, the heads in the top band cream-colored, in the arion 27.1 spring/summer 2019 Like: Poems by A. E. Stallings was published in 2018 by Farrar, Straus and Giroux, New York. Stallings’s earlier books of poetry include Archaic Smile (1999), Hapax (2006), Olives (2012), and a verse translation of Lucretius’ The Nature of Things (2007). bottom a delicate ochre or sand. There is, then, on the very cover of Like a promise of complex correspondence and subtle variation within the volume itself. Stallings’s title suggests poetry as the art of locating and articulating likeness or as the act of finding one thing in another. And in Stallings’s delicate, robust, witty, and humane use of the past, “like” also and most significantly means that they—the figures of ancient myth—and we are alike in our shared experience and shared humanity. Stallings sometimes presents classical and mythological references glancingly, and that is part of the delight—catching the joke in Hermes’ epithet, “lord of florists,”1 finding in “The Rosehead Nail” that the local blacksmith in Monteagle, Tennessee, “was a god / Before... the tasks / That had been craft were jobbed out to machine.” Likeness is, of course, the mode of Homeric simile, and in “Selvage” Stallings turns the simile of Odyssey 22.468–73, in which Homer compares the hanged maids to thrushes caught in a net, into a different but contextually relevant parallel: “they hang... From the warp like a dozen ancient loom weights,” a likeness that evolves from Stallings’s double entendre in line seven describing the maids as “spinsters of their own doom,” an allusion both to the task, properly theirs, of weaving and to their disclosure to their lovers of Penelope’s secret unravelling. Stallings can expand as well as adapt Homeric similes. At Iliad 2.87–2.90 Homer likens the Achaians’ assembly at Agamemnon’s command to arm and attack Troy to bees leaving the hive: Like the swarm of clustering bees that issue forever in fresh bursts from the hollow in the stone, and hang like bunched grapes as they hover beneath the flowers in springtime fluttering in swarms together this way and that way so the many nations of men from the ships and the shelters along the front of the deep sea beach marched in order by companies to the assembly2 178 poems ancient and contemporary Homer finds likeness in the orderly setting forth—of bees, of men—to do what is required. This, on the other hand, is what Stallings does: Colony Collapse Disorder (Iliad, 2.87–2.90) Just as a swarm pours from a hollow rock In one long beeline for the wild thyme, Alighting in clusters on this purple and that, But is stricken with a mass amnesia That disorients the compass of the sun, And they forget the steps to traditional dances, And each helicopters into a different dimness Taking their saddlebags of sweetness with them, And the hive goes dark, the queen is left to starve, And the drones humbug the whimper of the world, And the palace falls to ruins, broken into By vandals who would loot the golden stores Left in the brittle wax hexameters, Just so... And “so” her... (shrink)

The Late Bronze Age gypsum mould discussed hère was first interpreted as a gold worker's mould. It wears the matrices, for the "lost wax" process, of three figures. At one side, a man is shown holding a jug in each hand and wearing a short kilt and a short-sleaved, tightly fitting garment. He probably formed part of a ritual scène. At the other side are two figures fighting with spears and wearing kilts with horizontal stripes. They may hâve (...) formed a "lutte sportive", a fréquent thème in Aegean iconography. The object under discussion is actually a mould for the décorative éléments of a four-sided bronze stand. Such stands are well known in Cypriot bronzeworking and this mould expands their décorative repertory. (shrink)

The #1bestseller that presents a funny, honest, and engaging look at the craziness of modern life, explaining why we're all just a little bit out of our minds. In Sane New World, Ruby Wax - comedian, writer and mental health advocate - shows us just how our minds can send us mad as our internal critics play on a permanent loop tape. 'Don't do that.. why you... you didn't... should have... but you didn't...'. Ruby knows those voices well. She has (...) been on a tough but ultimately enlightening journey that has taken her from battling depression to achieving a Masters Degree from Oxford University in Mindfulness-based Cognitive Therapy. In Sane New World, Ruby helps us all understand why we sabotage our sanity, how our brains work and how we can rewire our thinking - often through simple mindfulness techniques - to find calm in a frenetic world. (shrink)

The English term religion is used to refer to local Christian churches, their organizations, and their practices. Nevertheless, Western anthropologists have tried to utilize it as if it were a technical term with universal applicability. Anthropologists have sought to characterize religion by several dichotomies, although their own field researches have revealed the irrelevance of such dichotomies as well as the fact that non‐Western peoples do not recognize an entity equivalent to religion. Were the characteristics used by anthropologists in defining religion (...) precisely applied to Western societies, then several other kinds of organizations, ceremonials, and practices would have as much, or even greater, claim to being included within the rubric of religion as the Christian and allied churches. The consequence of this conceptual imprecision has been the theoretical stagnation noted by eminent theorists. (shrink)

How should we respond to historical figures who played an important role in their country’s history but have also perpetrated acts of great evil? Much of the existing philosophical literature on this topic has focused on explaining why it may be wrong to celebrate such figures. However, a common response that is made in popular discussions around these issues is that we should not judge historical figures by today’s standards. Our goal in this paper is to examine (...) the most plausible way to understand this objection. We will examine three different interpretations of this argument. First, we will examine a view we call Temporal Moral Relativism, according to which moral standards are relative to particular points in time. Next, we outline Blame Relativism, the view that people from the past may be excused from blame for acts of conventionalized wrongdoing. Finally, we outline Ideals Relativism, according to which our moral ideals are partially relative to the time in which we live. We argue that Ideals Relativism provides the most plausible interpretation of this argument. (shrink)

Many critics, Descartes himself included, have seen Hobbes as uncharitable or even incoherent in his Objections to the Meditations on First Philosophy. I argue that when understood within the wider context of his views of the late 1630s and early 1640s, Hobbes's Objections are coherent and reflect his goal of providing an epistemology consistent with a mechanical philosophy. I demonstrate the importance of this epistemology for understanding his Fourth Objection concerning the nature of the wax and contend that Hobbes's brief (...) claims in that Objection are best understood as a summary of the mechanism for scientific knowledge found in his broader work. Far from displaying his confusion, Hobbes's Fourth Objection in fact pinpoints a key weakness of Descartes's faculty psychology: its unintelligibility within a mechanical philosophy. (shrink)

At the intersection of metaphysics and social theory, this book presents and examines Adorno's unusual concept of possibility and aims to answer how we are to articulate the possibility of a redeemed life without lapsing into a vague and naïve utopianism.

In the Speech of Pythagoras fromMetamorphoses15, Ovid uses a metaphor of how wax can be stamped with new images to illustrate how theanimacan remain substantially the same while altering in shape when undergoing transmigration. Shortly after he describes how all things are in a state of flux, and compares the flow of time to the movement of a river. In Plato’sTheaetetus, Socrates, in an extended analogy, tells us to imagine that the ψυχή contains a block of wax, upon which are (...) imprinted our memories, while the dialogue also contains a lengthy criticism of the Heraclitean doctrine of flux. This article will argue that Ovid adapts the wax-metaphor from theTheaetetusand that the dialogue also provides the context for Ovid’s allusion to the Heraclitean principle that πάντα ῥεῖ. It will analyse how the wax and river metaphors were transformed in the epistemological theories of the Stoics and the Epicureans in order to demonstrate how Ovid reformulates this series of philosophical discussions for poetic purposes. The final part of this article will discuss how the wax and river metaphors can be read in term of the wider intertextual agenda of the Speech of Pythagoras. (shrink)

In the Speech of Pythagoras from Metamorphoses 15, Ovid uses a metaphor of how wax can be stamped with new images to illustrate how the anima can remain substantially the same while altering in shape when undergoing transmigration. Shortly after he describes how all things are in a state of flux, and compares the flow of time to the movement of a river. In Plato’s Theaetetus, Socrates, in an extended analogy, tells us to imagine that the ψυχή contains a block (...) of wax, upon which are imprinted our memories, while the dialogue also contains a lengthy criticism of the Heraclitean doctrine of flux. This article will argue that Ovid adapts the wax-metaphor from the Theaetetus and that the dialogue also provides the context for Ovid’s allusion to the Heraclitean principle that πάντα ῥεῖ. It will analyse how the wax and river metaphors were transformed in the epistemological theories of the Stoics and the Epicureans in order to demonstrate how Ovid reformulates this series of philosophical discussions for poetic purposes. The final part of this article will discuss how the wax and river metaphors can be read in term of the wider intertextual agenda of the Speech of Pythagoras. (shrink)

The role of mathematics in scientific practice is too readily relegated to that of formulating equations that model or describe what is being investigated, and then finding solutions to those equations. I survey the role of mathematics in: 1. Exact solutions of differential equations, especially conformal mapping; and 2. Simulations of solutions to differential equations via numerical methods and via agent-based models; and 3. The use of experimental models to solve equations (a) via physical analogies based on similarity of the (...) form of the equations, such as Prandtl’s soap-film method, and (b) the method of physically similar systems. Two major themes emerge: First, the role of mathematics in science is not well described by deduction from axioms, although it generally involves deductive reasoning. Creative leaps, the integration of experimental or observational evidence, synthesis of ideas from different areas of mathematics, and insight regarding analogous forms are required to find solutions to equations. Second, methods that involve mappings or transformations are in use in disparate contexts, from the purely mathematical context of conformal mapping where it is mathematical objects that are mapped, to the use of concrete physical experimental models, where one concrete thing is shown to correspond to another. (shrink)

This short article provides information about a lesson on the value of biodiversity in an ecosystem currently suffering severe damage due to human socio-economic activities.

In The Contemplation of the World, eminent French theorist Michel Maffesoli pursues and extends his project of decoding contemporary societies.

Time, precarious lives and memories and multiple narrations related to crossing borders constitute the key meanings of a series of contemporary pieces of works produced by migrant artists and writers. Through an analysis of some of their works, this article focuses on some spatio-temporal images, actions and metaphors related to movement. Then it questions the exploration of narratives in visual arts, especially the relationship between imaginary fiction and reality stories. Theatre may become the very place where contemporary tales of migrant (...) people are translated, told, performed. The very meaningful notion of hospitality becomes a theatrical practice in one of the most relevant spectacles of the Théâtre du Soleil, Le Dernier Caravansérail. Another aspect of this creative hospitality — Leïla Sebbar’s Mes Algéries en France — concerns the interweaving of memories belonging to opposite sides of divided countries, after the colonial wars. This work of collection, transcription, translation from one to another gives an example of writing as a repairing work but also of revelation of unknown connections. (shrink)