Online research in philosophy

Here, in textbook style, is a concise biological account of the evolution of morality. It addresses morality on three levels: moral outcomes (behavioral genetics), moral motivation or intent (psychology and neurology), and moral systems (sociality). The rationale for teaching this material is addressed in Allchin (2009). Classroom resources (including accompanying images and video links) and a discussion of teaching strategies are provided online at: http://EvolutionOfMorality.net.

As the ongoing literature on the paradoxes of the Lottery and the Preface reminds us, the nature of the relation between probability and rational acceptability remains far from settled. This article provides a novel perspective on the matter by exploiting a recently noted structural parallel with the problem of judgment aggregation. After offering a number of general desiderata on the relation between finite probability models and sets of accepted sentences in a Boolean sentential language, it is noted that a number (...) of these constraints will be satisfied if and only if acceptable sentences are true under all valuations in a distinguished non-empty set W. Drawing inspiration from distance-based aggregation procedures, various scoring rule based membership conditions for W are discussed and a possible point of contact with ranking theory is considered. The paper closes with various suggestions for further research. (shrink)

We are told by philosophers that photographs are a distinct category of image because the photographic process is mind-independent. Furthermore, that the experience of viewing a photograph has a special status, justified by a viewer’s knowledge that the photographic process is mind-independent. Versions of these ideas are central to discussions of photography in both the philosophy of art and epistemology and have far-reaching implications for science, forensics and documentary journalism. Mind-independence (sometimes ‘belief independence’) is a term employed to highlight (...) what is important in the idea that photographs can be produced naturally, mechanically, accidentally or automatically. Insofar as the process is physical, natural, mechanical or causal it can occur without human agency or intervention, entirely in the absence of intentional states. Presented innocuously, the idea is that although photographs are dependent on natural or mechanical processes, they can be produced independently of human agency – particularly human beliefs. Presented in a stronger form, the claim is that even if human agency is heavily involved in the production process, the definitive features that make the photograph a photograph and determine its salient properties are nonetheless independent of human minds. In epistemic debates, mind-independence is viewed as essential for explaining why photographs occupy a distinct category among images and justifying a variety of claims about their privileged epistemic and affective status in science, forensics, popular culture and journalism. But, in the philosophy of art, claims about mind-. (shrink)

Brought together for the first time, these writings by visual artist and writer Yve Lomax are united by a common thread: they place writing itself--the written image--into the repertoire of visual art. The book both proposes and demonstrates this development. It also has a twofold purpose and function: it can be read and enjoyed as performance, often resembling poetry, thick with ideas, images and metaphors. It is also an original contribution to theoretical writing on the visual, particularly relating to (...) the image and difference, celebrating and referring to the work of Michel Serres, Gilles Deleuze, Luce Irigaray and others in pursuit of its own strategy of introducing the written image into the theoretical text. (shrink)

If anything marks the image, it is a deep ambivalence. Denounced as superficial, illusory, and groundless, images are at the same time attributed with exorbitant power and assigned a privileged relation to truth. Mistrusted by philosophy, forbidden and embraced by religions, manipulated as “spectacle” and proliferated in the media, images never cease to present their multiple aspects, their paradoxes, their flat but receding spaces.What is this power that lies in the depths and recesses of an image—which is always (...) only an impenetrable surface? What secrets are concealed in the ground or in the figures of an image—which never does anything but show just exactly what it is and nothing else? How does the immanence of images open onto their unimaginable others, their imageless origin?In this collection of writings on images and visual art, Jean-Luc Nancy explores such questions through an extraordinary range of references. From Renaissance painting and landscape to photography and video, from the image of Roman death masks to the language of silent film, from Cleopatra to Kant and Heidegger, Nancy pursues a reflection on visuality that goes far beyond the many disciplines with which it intersects. He offers insights into the religious, cultural, political, art historical, and philosophical aspects of the visual relation, treating such vexed problems as the connection between image and violence, the sacred status of images, and, in a profound and important essay, the forbidden representation of the Shoah. In the background of all these investigations lies a preoccupation with finitude, the unsettling forces envisaged by the images that confront us, the limits that bind us to them, the death that stares back at us from their frozen traits and distant intimacies.In these vibrant and complex essays, a central figure in European philosophy continues to work through some of the most important questions of our time. Jean-Luc Nancy is Distinguished Professor of Philosophy at the Université Marc Bloch, Strasbourg. The most recent of his many books to be published in English are A Finite Thinking and Multiple Arts. Jeff Fort has translated works by authors such as Jean Genet, Maurice Blanchot, and Jacques Derrida. He is currently a lecturer in the Department of Comparative Literature at the University of California, Berkeley. (shrink)

Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.

Beckett often made use of images from the visual arts and readapted them, staging them in his plays, or using them in his fiction. Anthony Uhlmann sets out to explain how an image differs from other terms, like 'metaphor' or 'representation', and, in the process, to analyse Beckett's use of images borrowed from philosophy and aesthetics. This is the first study to carefully examine Beckett's thoughts on the image in his literary works and his extensive notes to the (...) philosopher Arnold Geulincx. Uhlmann considers how images might allow one kind of interaction between philosophy and literature, and how Beckett makes use of images which are borrowed from, or drawn into dialogue with, philosophical images from Geulincx, Berkeley, Bergson, and the ancient Stoics. Uhlmann's reading of Beckett's aesthetic and philosophical interests provides a revolutionary new reading of the importance of the image in his work. (shrink)

Genealogy and ontology (paradigms) -- The image in photography and cinema and its digital future.

Les deux livres de Sartre sur l’image posent un problème d’interprétation rarement traité. Le premier, L’Imagination, s’achève sur un vibrant hommage à la théorie husserlienne de l’image. Le second, L’Imaginaire, qui faisait initialement partie d’un même volume, propose une théorie inédite de l’imagination qui ne cite pas une seule fois Husserl, et qui s’en démarque fortement. Sartre a-t-il changé de point de vue d’un livre à l'autre ? Ou faut-il comprendre que son hommage à Husserl était d’emblée un (...) hommage critique, porteur de lourds désaccords explicités par L’Imaginaire ? Cet article répond à ces questions en cernant les lignes de fracture décisives entre les deux auteurs. (shrink)

The triumph of the image in contemporary culture is as obvious as the triumph of the body within the Western civilization. However, what has been less noticed is that it is also as partial and specific. As it is not the body in its metaphysical certainty that had triumphed, but only the body as a register of meanings (only the body as language), what triumphs in this civilization is also only a certain type of image. This is because (...) when we, the Westerners, refer to the image, we inevitably think of the tridimensional space of the Euclidean projection, originating in the Renaissance paintings and backed up afterwards by the photography of the late 19th century, by cinematography and by today's omnipresent television. This is the type of image that has triumphed and that takes under its caring wing everything that resembles it within the visual culture. Consequently, we speak with too much ease about the image and we call almost everything “image” as long as it vaguely belongs to visibility, or even to resemblance in a very general sense, even though we conceive it according to the tridimensional image from the Euclidean projection. (shrink)

Introduction. Dying to see -- The anthropomorphic image : negotiations of space between body and landscape -- The imperfect replica : departures and arrivals from Naples to Nagasaki -- The visionary image : the return of the image from Brazil to Rome -- The utopic image : unsettling circuits between Chile and Rome -- Epilogue : The proliferation of the body : Francis Xavier in Goa.

Introduction: image ethics -- Harnessing the visual: from illustration to ekphrasis -- From visible to invisible: Spenser's Aprill and messianic ethics -- Looking for ethics in Spenser's Faerie queene -- "To look, but with another's eyes": translating vision in A midsummer night's dream -- The ethics of temporality in Measure for measure -- "Ocular proof" and the dangers of the perceptual faith -- "Disliken the truth of your own seeming": visual and ethical truth in The winter's tale.

Although better known for his phenomenology of perception and the perceived world, Merleau-Ponty’s writings also contain the outlines of a rich and unique account of the imagination and the imaginary. In this paper, I explicate the phenomenology of the image that Merleau-Ponty develops throughout his work. I show how Merleau-Ponty develops this account of the image in critical response to Sartre and in a way that follows from his own descriptions of what painters do when they paint and (...) of what we experience when we look at their paintings. The investigation of the particular mode of being of images leads to a consideration of the body and Merleau-Ponty’s later ontology. (shrink)

It is commonly assumed that when we assign different credences to a proposition, a perfect compromise between our opinions simply ‘splits the difference’ between our credences. I introduce and defend an alternative account, namely that a perfect compromise maximizes the average of the expected epistemic values that we each assign to alternative credences in the disputed proposition. I compare the compromise strategy I introduce with the traditional strategy of compromising by splitting the difference, and I argue that my strategy is (...) a reasonable characterization of epistemic compromise. (shrink)

in N. Eilan, A. Marcel and J. Bermudez (eds.), The Body and the Self (Cambridge, Mass.: MIT Press 1995), 29-42.

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...) resemblance views, and shows how his own account is uniquely well-placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

Indirect reciprocity occurs when the cooperative behavior between two individuals is contingent on their previous behavior toward others. Previous theoretical analysis indicates that indirect reciprocity can evolve if individuals use an image-scoring strategy. In this paper, we show that, when errors are added, indirect reciprocity cannot be based on an image-scoring strategy. However, if individuals use a standing strategy, then cooperation through indirect reciprocity is evolutionarily stable. These two strategies differ with respect to the information to (...) which they attend. While image-scoring strategies only need attend to the actions of others, standing strategies also require information about intent. We speculate that this difference may shed light on the evolvability of indirect reciprocity. Additionally, we show that systems of indirect reciprocity are highly sensitive to the availability of information. Finally, we present a model which shows that if indirect reciprocity were to evolve, selection should also favor trusting behavior in relations between strangers. r 2003 Elsevier Ltd. All rights reserved. (shrink)

The paper analyzes the sacred foundations of Western institutional order, moving from an epistemological, historical and legal–aesthetic perspective. Firstly, it identifies an epistemological theory of complexity which, pursuing Hayek’s theory of complexity, Robilant’s notion of informative–normative systems, Popper’s theory of the Worlds, and Dupuy’s theory of endogenous fixed point, will conclusively lead to presenting the hypothesis of World 0 as the World of the foundation of legal thinking, the home of the sacred and the aesthetic. Secondly, it identifies the axiological (...) character of the legal aesthetic as a discipline, a topic that will be taken up in relation to the work of the French historian of canonical law and psychoanalyst Legendre, starting from the analysis of a legal/historiographical context (Corpus Iuris Civilis, Corpus Iuris Canonici, Hobbesian Leviathan, Kelsenian Grundnorm). Thirdly, following Ellul’s thought on secularization, the idea that we now live in a secularized, lay society, lacking in the sacred is revealed as a sort of illusion, the creation of a myth of modernity, only apparently rational. Finally the paper proposes as the task of legal theory the identification of the system of “nomograms” in which the normative message is organized, according to a nonreductionistic approach that forces legal theory to recognize the plurality of the iconic forms of the normative message. The “nomograms” respond to the need of extending the field of legal science to phenomena that the positivist theory of law does not consider important, but which the process of evolution of contemporary society imposes. (shrink)

The senses present their content in the form of images, three-dimensional arrays of located sense features. Peacocke’s “scenario content” is one attempt to capture image content; here, a richer notion is presented, sensory images include located objects and features predicated of them. It is argued that our grasp of the meaning of these images implies that they have propositional content. Two problems concerning image content are explored. The first is that even on an enriched conception, image content (...) has certain expressive limitations. In particular, it cannot express absolute location and time (as opposed to spatiotemporal relations) or logical complexity. Yet, perceptual experience does seem to express certain absolute locations—namely, here and now. How can it do so? Secondly, image content cannot exhaust the significance of perceptual states. This is proved by noting that perception, memory, and anticipation can have the same image content. Yet they have different significance. These problems show that some of the significance of sensory states comes from outside the image. (shrink)

Sellars (1963) distinguished in Empiricism and Philosophy of Mind between ordinary discourse, which expressed his “manifest image”, and scientific discourse, which articulated his “scientific image” of man-in-the-world in a way that is both central and problematic to the rest of his philosophy. Our contention is that the problematic feature of the distinction results from Sellars theory of inner episodes as theoretical entities. On the other hand, as Sellars attempted to account for our noninferential knowledge of such states, particularly (...) in correspondence with Castañeda, discussed by Lehrer and Stern (2000), he is lead to account of representation of such states that incorporates the states into what Lehrer has called exemplar representation (2004, 2011a) and Ismael reflexive self-description (2007). What is common to the three accounts, with some differences, is that such states may be function reflexively in selfrepresentation. Our argument is that the elaboration of this account, suggested in Sellars, shows how the discourse of the manifest image can be transformed into the discourse of the scientific image as self-representations of scientific entities. (shrink)

This article proposed four novel constructs – green brand image, green satisfaction, green trust, and green brand equity, and explored the positive relationships between green brand equity and its three drivers – green brand image, green satisfaction, and green trust. The object of this research study was information and electronics products in Taiwan. This research employed an empirical study by use of the questionnaire survey method. The questionnaires were randomly mailed to consumers who had the experience of purchasing (...) information and electronics products. The results showed that green brand image, green satisfaction, and green trust are positively related to green brand equity. Furthermore, the positive relationship between green brand image and green brand equity is partially mediated by green satisfaction and green trust. Hence, investing on resources to increase green brand image, green satisfaction, and green trust is helpful to enhance green brand equity. (shrink)

The article explores the striking coincidences in Heidegger's and Blanchot's account of the image as death mask. The analysis of the respective theories of the image brings forth two radically divergent conceptions of thinking as "laying patent" (Heidegger) and of thinking as "laying bare" (Blanchot).

James Elkins has shaped the discussion about how we—as artists, as art historians, or as outsiders—view art. He has not only revolutionized our thinking about the purpose of teaching art, but has also blazed trails in creating a means of communication between scientists, artists, and humanities scholars. In Six Stories from the End of Representation , Elkins weaves stories about recent images from painting, photography, physics, astrophysics, and microscopy. These images, regardless of origin, all fail as representations: they are blurry, (...) dark, pixellated, or otherwise unclear. In these opaque images, Elkins finds an opportunity to create stories that speak simultaneously to artists and to scientists, and to open both those fields to those of us who have little purchase in either. Regarding each image through the lens of the discipline that produced it, Elkins simultaneously affirms the unique structure of each way of viewing the world and brings those views together into a vibrant conversation. (shrink)

In a majority of situations the normal adult maintains posture or moves without consciously monitoring motor activity. Posture and movement are usually close to automatic; they tend to take care of themselves, outside of attentive regard. One's body, in such cases, effaces itself as one is geared into a particular intentional goal. This effacement is possible because of the normal functioning of a body schema. Body schema can be defined as a system of preconscious, subpersonal processes that play a dynamic (...) role in governing posture and movement (Head, 1920). There is an important and often overlooked conceptual difference between the subpersonal body schema and what is usually called body image . The latter is most often defined as a conscious idea or mental representation that one has of one's own body (for example, Adame, Radell, Johnson, and Cole, 1991; Gardner and Moncrieff, 1988; Schilder, 1935). Despite the conceptual difference many researchers use the terms interchangeably, leading to both a terminological and conceptual confusion. (shrink)

How must knowledge be formed, if made in the image of assertion? That is, given that knowledge plays the normative role of governing what one may assert, what can be inferred about the structure of the knowledge relation from this role? I will argue that what one may assert is sensitive to the question under discussion, and conclude that what one knows must be relative to a question. In short, knowledge in the image of assertion is question-relative knowledge.

Most readers of Sellars' philosophy learn about a Manifest-Scientific Image distinction, and because apparently nothing significant hinges on what at first sight seems just a neologistic labeling of a familiar distinction, it is henceforth wrongly associated with a pre-systematic commonsense/scientific framework distinction. The Manifest Image is not identical to the commonsense framework; nor is the Scientific Image identical to the scientific framework. In this paper I will concern myself only with arguing that the Manifest Image is (...) not identical to the commonsense framework. (shrink)

The study of decision making has multiple implications for business ethics. This paper outlines some commonly used frameworks for understanding choice in business. It characterises the dominant model for business decision making as rational choice theory (RCT) and contrasts this with a more recent, naturalistic theory of decision-making, image theory. The implications of using RCT and image theory to model decision making are discussed with reference to three ethical systems. RCT is shown to be consistent with Utilitarian ethics, (...) but not with Kantian or Virtue-based ethics. Image theory is shown to be consistent with each. The paper identifies a number of implications following from this analysis. (shrink)

6.     The Images as philosophical miscreants 6.1      What is this thing called the Manifest Image? 6.2      And what of that thing called the Scientific Image? 6.3      The dialectic that engenders the dichotomy 7.     The very idea of images..

In practice, scoring rules elicit good probability estimates from individuals, while betting markets elicit good consensus estimates from groups. Market scoring rules combine these features, eliciting estimates from individuals or groups, with groups costing no more than individuals. Regarding a bet on one event given another event, only logarithmic versions preserve the probability of the given event. Logarithmic versions also preserve the conditional probabilities of other events, and so preserve conditional independence relations. Given logarithmic rules that elicit relative (...) probabilities of base event pairs, it costs no more to elicit estimates on all combinations of these base events. (shrink)

The image of the Peng bird, which opens the Zhuangzi text, is not the product of metaphysical reasoning. An inspiring example of soaring up and going beyond, the image is used to broaden the outlook of the small mind; its function is thus more therapeutic than instructional. With its rich poetic and experiential content, the image of the Peng refuses to be reduced to an abstract concept, or a mere signifier of certain philosophical position. Misreading of the (...) image results from any attempt to accurately “size up” its philosophical implication by measuring it quantitatively against a spectrum of positions and values. To see only the superficial “inconsistencies” in Zhuangzi’s argument and to read the wind under the Peng’s wings as a handicap that it needs to overcome in order to embark on its “free and easy wandering” is, in the name of logic and “consistency,” to ignore the big picture Zhuangzi presents. (shrink)

Several recent investigations (Grimes, in press; McConkie and Currie, in preparation) report that large changes in images of natural scenes can remain unnoticed if these are made during saccades. We show here that similar massive effects can be obtained without synchronization to saccades. This is done via a "flicker" technique in which an original and an altered image (each of duration 240 ms) are repetitively alternated, with a blank field (duration 27 or 290 ms) between each display. One of (...) four kinds of change (color, left-right reflection, translation, or appearance/disappearance) were made in the foreground or background of each scene. Many of these changes were difficult to detect, even over long periods of observation (35 seconds). We believe that this is due to the spatially-distributed transient induced by the blank field, which swamps the localized flash that would otherwise draw attention to the changes; observers were therefore forced to rely on higher-level (probably non-iconic) representations of the scenes to detect the change. Our results indicate that the failure to notice scene changes during saccades is not due to saccade-specific mechanisms, but rather, involves more general mechanisms of visual attention. (shrink)

De Finetti introduced the concept of coherent previsions and conditional previsions through a gambling argument and through a parallel argument based on a quadratic scoring rule. He shows that the two arguments lead to the same concept of coherence. When dealing with events only, there is a rich class of scoring rules which might be used in place of the quadratic scoring rule. We give conditions under which a general strictly proper scoring rule can replace the (...) quadratic scoring rule while preserving the equivalence of de Finetti’s two arguments. In proving our results, we present a strengthening of the usual minimax theorem. We also present generalizations of de Finetti’s fundamental theorem of prevision to deal with conditional previsions. (shrink)

In this paper I examine the meaning of Deleuze's transcendental empiricism by means of the kind of experience that his project opens up for us – an experience that I want to call transcendental. Primarily on the basis of his works on cinema, famously dedicated to freely investigating Bergson's thought, I argue that Deleuze's notion of the time-image, together with his search for its real and necessary conditions, consists in the liberation of experience from its Kantian limitative conditioning. I (...) then examine both the new kind of subjectivity (the fissured ego) that emerges from this enlarged experience and the new conception of temporality (time out of joint) that subtends it. Finally, I try to bring out the concrete relations between (transcendental) experience, thought and the brain that Deleuze brings to light in his analysis of great cinema's reinvention of the relationship between time and movement. (shrink)

: This essay investigates why and how East Asian thought, particularly Chinese thought, has traditionally developed differently from that of Western philosophy by examining the linguistic differences discerned in the Chinese language and Western languages. To accomplish this task, it focuses on the understanding of "being" that relates to the theoretical thinking of the West and the image-thinking of East Asia, while providing a psychological basis for the latter.

This research extends previous findings related to the positive influence of company credibility on a social Cause–Brand Alliance’s (CBA) persuasion mechanism. This study analyzes the mediating role of two dimensions of company credibility (trustworthiness and expertise) with regard to the influence of altruistic attributions and two types of brand–cause fit (functional and image fit) on corporate social responsibility image. A structural equation model tests the proposed framework with a sample of 299 consumers, and the results suggest that (1) (...) image fit and altruistic attribution are cues that consumers use to evaluate company trustworthiness when linking to a social cause; (2) functional fit significantly influences perceived company expertise but not trustworthiness; and (3) trustworthiness has more weight than expertise in judgments about corporate social responsibility. (shrink)

The world perceived by a person undergoing vision without inversion of the retinal image has traditionally been described as inverted. Drawing on the philosophical work of Maurice Merleau-Ponty and the empirical research of Hubert Dolezal, I argue that this description is more reflective of a representationist conception of vision than of actual visual experience. The world initially perceived in vision without inversion of the retinal image is better described as lacking in lived significance rather than inverted; vision without (...) inversion of the retinal image affects the very content of the perceived world, including, importantly, its expressions and conducts, and not merely the orientation of this content. Moreover, I argue that the enactive approach, rather than a representationist approach, is best able to account for the perception of the world, after prolonged vision without inversion of the retinal image, as both normal and upright, yet still different from the world seen previously. Finally, in their attention to the perception of other people’s facial expressions, I argue that Merleau-Ponty and Dolezal draw out the existential significance of the enactive approach. In encountering another person, the most pressing task is generally not to observe this person’s features but, instead, to engage with this person’s expressions. (shrink)

Sellars claims completeness for both the “manifest” and the “scientific images” in a way that tempts one to assume that they are independent of each other, while, in fact, they must share at least one common element: the language of individual and community intentions. I argue that this significantly muddies the waters concerning his claim of ontological primacy for the scientific image, though not in favor of the ontological primacy of the manifest image. The lesson I draw is (...) that we need to reassess the aims of ontology. (shrink)

Corporate image is a function of organizational signals which determine the perceptions of various stakeholders regarding the actions of an organization. Because of its relationship to the actions of an organization, image has been studied as an indicator of the social performance of the organization. Recent research has determined that social performance has direct effects on the behaviors and attitudes of the organization's employees. To better understand these effects, this study develops and empirically tests a model which links (...) corporate leaders' actions, employees' perceptions of corporate image, and the employees' level of association with the organization. The effects of managing the social environment of an organization on its employees' perceptions of image, attitudes, and intended behaviors are discussed. (shrink)

This essay investigates why and how East Asian thought, particularly Chinese thought, has traditionally developed differently from that of Western philosophy by examining the linguistic differences discerned in the Chinese language and Western languages. To accomplish this taks, it focuses on the understanding of "being" that relates to the theoretical thinking of the West and the image-thinking of East Asia, while providing a psychological basis for the latter.

Why are visual artworks experienced as having intrinsic significance or normative depth? Why are some works of art better able to manifest this significance than others? In his latest book Paul Crowther argues that we can answer these questions only if we have a full analytic definition of visual art. Crowther's approach focuses on the pictorial image, broadly construed to include abstract work and recent conceptually-based idioms. The significance of art depends, however, essentially on the transhistorical nature of the (...) pictorial image, the way in which its illuminative power is extended through historical transformation of the relevant artistic medium. Crowther argues against fashionable forms of cultural relativism, while at the same time showing why it is important that an appreciation of the history of art is integral to aesthetic judgment. (shrink)

The concepts of body image and body schema have a firm tradition in each of these disciplines and make up the conceptual anchors of this volume.

There seem to be some very good reasons for a philosopher of science to be a deductivist about scientific reasoning. Deductivism is apparently connected with a demand for clarity and definiteness in the reconstruction of scientists' reasonings. And some philosophers even think that deductivism is the way around the problem of induction. But the deductivist image is challenged by cases of actual scientific reasoning, in which hard-to-state and thus discursively ill-defined elements of thought nonetheless significantly condition what practitioners accept (...) as cogent argument. And arguably, these problem cases abound. For example, even geometry--for most of its history--was such a problem case, despite its exactness and rigor. It took a tremendous effort on the part of Hilbert and others, to make geometry fit the deductivist image. Looking to the empirical sciences, the problems seem worse. Even the most exact and rigorous of empirical sciences--mechanics--is still the kind of problem case which geometry once was. In order for the deductivist image to fit mechanics, Hilbert's sixth problem (for mechanics) would need to be solved. This is a difficult, and perhaps ultimately impossible task, in which the success so far achieved is very limited. I shall explore some consequences of this for realism as well as for deductivism. Through discussing links between non-monotonicity, skills, meaning, globality in cognition, models, scientific understanding, and the ideal of rational unification, I argue that deductivists can defend their image of scientific reasoning only by trivializing it, and that for the adequate illumination of science, insights from anti-deductivism are needed as much as those which come from deductivism. (shrink)

Recent advances in evolutionary biology and ethology suggest that humans are not the only species capable of empathy and possibly morality. These findings are of no little consequence for theology, given that a nonhuman animal as a free moral agent would beg the question if human beings are indeed uniquely created in God's image. I argue that apes and some other mammals have moral agency and that a traditional interpretation of the imago Dei is incorrectly equating specialness with exclusivity. (...) By framing the problem in terms of metaphor, following the work of Paul Ricoeur and Sallie McFague, I propose that the concept of the imago Dei could be extended to accommodate moral species other than our own. (shrink)

Painting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance—e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion—the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim of (...) this paper is to begin an investigation into the process by which painting stages the activity of painting. This forms part of a project whose aim is an investigation of the way philosophy should respond to the essential historicity of art (where the latter is understood philosophically). (shrink)

Boulding discusses the image as the key to understanding society and human behavior.

If a machine is something that cuts into a continuous flow, schizoanalysis can be read, quite literally, as an analysis of cuts. In cinematic registers, it is an analysis of montage. Looking closely at a number of modes and moments of montage in the work of Alfred Hitchcock, this paper shows how his strategies of ‘reciprocally presupposing’ actual image and virtual montage relate to a Deleuzian poetics and politics of the cinema.

This essay presents some thoughts on schizoanalysis and visual culture around the proposition that cinema survives in the digital age as a type of image that, after the movement-image and the time-image, could be called the neuro-image. By considering clinical schizophrenia as ‘degree zero’ of schizoanalysis in a more critical sense, a reading of The Butterfly Effect unfolds the temporal dimensions of schizoanalysis as typical for a definition of ‘the neuro-image’. The argument is that the (...) neuro-image speaks from the (always speculative) future. (shrink)

• Coherence1 for previsions of random variables with generalized betting; • Coherence2 for probability forecasts of events with Brier score penalty; • Coherence3 probability forecasts of events with various proper scoring rules.

This paper addresses the question of the earth. I center this effort on a reading of the figure of animality in the writings of Nietzsche and Bataille. I begin by accepting one of the decisive questions (die Entscheidungen) that Heidegger poses in the Beiträge zur Philosophie: "Whether nature is degraded to the exploitative place of calculation and furnishing and to an opportunity to 'have an experience' or whether nature as the self-closing Earth bears the opening of a world without (...) class='Hi'>image." In an attempt to think the Earth, I argue that the human as a natural kind emerges in denial or flight from animality. Animality renders natural kinds porous. It does not congeal into a categorically delimitable operation, but rather interrupts and multiplies such operations. Moreover, they multiply them with what Nietzsche called "transvaluative" force. Animality contests the closure of a discourse on kinds of animals. (shrink)

Discussions of the ethics of advertising have been based on a general distinction between informative and persuasive advertising without looking at specific techniques of persuasion. Self-identity image ads persuade by presenting an image of an idealizedperson-type such as a “beautiful” woman (Chanel) or a sexy teen (Calvin Klein). The product becomes a symbol of the ideal, and targetconsumers are invited to use the product to project the self-image to themselves and others. This paper argues that image (...) ads are notfalse or misleading, and that whether or not they advocate false values is a matter for subjective reflection. Image ads can undermine aconsumer’s self-esteem by collectively omitting images authentic for that sort of person (such as large women), and by combiningimpossible images with implied gaze. Image ads generally do not undermine autonomy of choice, internal autonomy, or socialautonomy. It is concluded that image advertising is a basically ethical technique, but several recommendations are given on how use ofimage advertising can avoid specific harms. (shrink)

The philosophical analysis of chemistry has advanced at such a pace during the last dozen years that the existence of philosophy of chemistry as an autonomous discipline cannot be doubted any more. The present paper will attempt to analyse the experience of philosophy of chemistry at the, so to say, meta-level. Philosophers of chemistry have especially stressed that all sciences need not be similar to physics. They have tried to argue for chemistry as its own type of science and for (...) a pluralistic understanding of science in general. However, when stressing the specific character of chemistry, philosophers do not always analyse the question ‘What is science?’ theoretically. It is obvious that a ‘monistic’ understanding of science should not be based simply on physics as the epitome of science, regarding it as a historical accident that physics has obtained this status. The author’s point is that the philosophical and methodological image of science should not be chosen arbitrarily; instead, it should be theoretically elaborated as an idealization (theoretical model) substantiated on the historical practice of science. It is argued that although physics has, in a sense, justifiably obtained the status of a paradigm of science, chemistry, which is not simply a physical science, but a discipline with a dual character, is also relevant for elaborating a theoretical model of science. The theoretical model of science is a good tool for examining various issues in philosophy of chemistry as well as in philosophy of science or science studies generally. (shrink)

Ex-Jew, eternal Jew: early representations of the Jewish Spinoza -- Refining Spinoza: Moses Mendelssohn's response to the Amsterdam heretic -- The first modern Jew: Berthold Auerbach's Spinoza and the beginnings of an image -- A rebel against the past, a revealer of secrets: Salomon Rubin and the east European Maskilic Spinoza -- From the heights of Mount Scopus: Yosef Klausner and the Zionist rehabilitation of Spinoza -- Farewell, Spinoza: I. B. Singer and the tragicomedy of the Jewish Spinozist.

This essay engages ways in which the manifestation of ‘world’ occurs in poetry specifically through images, and how we can conceive of the imagination in this regard without reducing the imagination to a mimetic faculty of consciousness subordinate to cognition. Continental thought in the last century offers rich resources for this study. The notion of a ‘world’ is related to the poetic image in ways fundamental to the Heidegger’s theory of language, and may be seen in Continental poetics following (...) Heidegger, including Blanchot’s examination of poetry in his account of the space of literature. By means of images, I shall demonstrate, poetic language is exemplary in relation to ‘world’ in two ways. (1) Images, poetically arranged, generate and open up a sense or experience of a world, specific to that poem, for its reader. Poetic images then, exhibit a generative evocation of world. (2) Through images, a poem may evoke the way in which space and time are inhabited as a world of human dwelling in an ontologically or existentially meaningful way. The relation of images to world is, then, an illumination or a disclosure of world. The first of these relations remains, to a large extent, immanent to the poem, but may be seen as an analogue of the essentially human experience of inhabiting a world. The second relation transcends the poem and relates the poem immediately to the existential framework of human dwelling. (shrink)

We offer a case-study in irrationality, showing that even in a high stakes context, intelligent and well trained professionals may adopt dominated practices. In multiple-choice tests one cannot distinguish lucky guesses from answers based on knowledge. Test-makers have dealt with this problem by lowering the incentive to guess, through penalizing errors (called formula scoring), and by eliminating various cues for outperforming random guessing (e.g., a preponderance of correct answers in middle positions), through key balancing. These policies, though widespread and (...) intuitively appealing, are in fact ‘‘irrational’’, and are dominated by alternative solutions. Number-rightscoring is superior to formula scoring, and key randomization is superior to key balancing. We suggest that these policies have persisted since all stake-holders – test-makers, test-takers and test-coaches – share the same faulty intuitions. (shrink)

AI research concerning the connection between seeing and speaking mainly employs what is called reference semantics. Within this framework, the notion of `mental image' is often used while explaining how somebody not situated in the same perceptual context is able to anchor his understanding of an utterance describing the scene visually perceived by the speaker. We give a foundation for considering mental images as propositions with respect to a certain field of concepts: these fields have to provide a syntactically (...) dense set of concepts distinguishing locations. The use of such propositions in the reference semantic explanations of understanding utterances about visually perceived scenes is motivated by applying Kant's idea of the introduction of new types of objects: we conceive spatial relations as relations only applicable to sortal objects, i.e., individuated objects which are synthetically introduced on a syntactically dense field providing their potential locations. The concept `mental image' which results from these preliminary studies is applied to two current projects in AI, one dealing with the semantics of particular spatial prepositions, and the other more generally concerned with the logic of the connection between visual and verbal space. (shrink)

"Imagination", says Aristotle, "is the process by which we say that an image is presented to us."1 While the OED accepts at least five other entries for the word -- including, for instance, poetic genius -- its first entry refers to the production of mental images. So in this paper, the one and only way I will use the term imagination is in reference to images.

The thesis explored here is that ?image technologies? prominent in today's communications technologies are acidic to traditional cultures. I parallel examples from the history of early modern science and its optical instrumentation with the rise of cinema and television and other audio?visual technologies to show a similar history and effect. One dominant contemporary phenomenon which occurs through image technologies is the appearance of pluriculture, a unique mediation of the multi?cultural. The challenge of pluriculture vis?à?vis the contemporary forms of (...) reaction to the phenomenon is also examined. (shrink)

The image of thought that Rembrandt proposes with his Philosopher in Meditation still wears the mask of the old philosophical pedagogy based on ascent and the heights, but it ushers in new percepts and affects corresponding to the philosopher's concept, fold, that Leibniz elevates to the status of the principle of Baroque variation. The fold unleashes a power that carries forms and statements over a variety of disjunctive statements.

A growing number of research misconduct cases handled by the Office of Research Integrity involve image manipulations. Manipulations may include simple image enhancements, misrepresenting an image as something different from what it is, and altering specific features of an image. Through a study of specific cases, the misconduct findings associated with image manipulation, detection methods and those likely to identify such manipulations, are discussed. This article explores sanctions imposed against guilty researchers and the factors that (...) resulted in no misconduct finding although relevant images clearly were flawed. Although new detection tools are available for universities and journals to detect questionable images, this article explores why these tools have not been embraced. (shrink)

Abstract. Found in the Primeval History in Genesis, the biblical concepts of the “image of God” and the “knowledge of good and evil” remain integral to Christian anthropology, especially with regard to the theologoumena of “fall” and “original sin.” All of these symbols are remained important and appropriate descriptors of the human condition, provided that contemporary academic theological anthropology engages in constructive dialogue with the natural and social sciences. Using Paul Ricoeur's notion of “second naïveté experience,” I illustrate the (...) hermeneutical significance of contemporary bio-cultural or socio-biological evolutionary theory for reformulating these concepts of Christian anthropology today. (shrink)

In the article two viewpoints on the mind’s influence on perception are considered. One of them was developed on the assumption that perception is a nonproblematic source of knowledge about the world, which is free from mind’s influence—perception as a mirror-image. Another viewpoint is perception as action, i.e. active search and gathering the relevant information, its processing and evaluation. First viewpoint has dominated in philosophy for a long time, the second one has been developing in (...) psychology from the 80th of the 20th century. The aim of the paper is to examine some philosophically significant corollaries from both positions concerning objectiveness, epistemological status of an observation, truth, meaning of name. Analysis showed that perception as action is non-compatible with many traditional concepts, and it goes both against empiricism and against realism as it involves some critical arguments, e.g. theory ladenness of observations, underdetermination of theory by facts, the historical development of a scientific fact. (shrink)

The contemporary philosophy of medicine may be characterized as a continuous struggle with the Cartesian heritage, in order to reach a more satisfying image of man. This paper outlines the influence of Cartesian dualism on the foundations of medicine.The notion of a real distinction between the mental and physical, particularly the mechanistic conception of the human body, made possible the development of the natural sciences as well as scientific medicine, not hampered any longer by the risk of colliding with (...) religion or Church. (shrink)

Popular Indian cinema provides a test case for examining the limitations of Gilles Deleuze's categories of movement-image and time-image. Due to the context-specific aesthetic and cultural traditions that inform popular Indian cinema, although it appears at times to be both movement- and time-image, it actually creates a different type of image. Analysis of Toofani Tarzan (1936) and Dilwale Dulhania Le Jayenge (1995) demonstrates how, alternating between a movement of world typical of the time-image, and a (...) sensory-motor movement of character typical of the movement-image, popular Indian cinema explores the potential fluxing of identities that emerge during moments of historical complexity. (shrink)

Ghostwriting is viewed by some as a necessary element for crafting an effective public image. Defenders of ghostwriting see no ethical dilemma in the practice because the audience knows the speechgiver is not necessarily the speechwriter. Alernatively, those regarding ghostwriting as unethical view the practice as deceitful. This group argues that the audience does not recognize the employment of a speechwriter and thus a speechgiver relies on the words of another to fortify personal ethos. This article examines several positions (...) regarding the ethics of ghostwriting and discusses an empirical study testing three major positions found in ghostwriting literature. Findings from the study indicate that respondents do recognize the use of speechwriters by certain individuals in certain circumstances. (shrink)

After thirty years of the current “imagery debate,” it appears far from resolved, even though there seems to be a growing acceptance that a cortical display cannot be identified directly with the experienced mental image, nor can it account for the experimental findings on imagery, at least not without additional ad hoc assumptions. The commentaries on the target article range from the annoyed to the supportive, with a surprising number of the latter. In this response I attempt to correct (...) some misreadings of the target article and discuss some of the ideas and evidence introduced by the commentators – much of which I found helpful, even though they do not alter my basic thesis. I also further develop the idea that the spatial character of images may come from the way they are connected to our immediate or immediately-recalled environment (by attention or by visual indexes) and towards which we may orient while we are imaging, thus leaving the alleged spatial properties of images outside the head and freeing image-representations from having to be displayed on any surface. (shrink)

Biomedical images and ontologies are closely related conceptually, yet currently they are studied in isolation. Biomedical ontologies provide a representation of the canonical entities considered in biomedical research and clinical observations, and the relations among them. Images reveal instances of those entities and, taken in aggregate, inform the construction of ontologies describing the pertinent domain content revealed in the images. The article by Fielding and Marwede (2011) notes the differences between the ontology of the body and the ontology of the (...) image, developing toward an application of ontology of the psychiatric domain. Although such ontology development is important for knowledge representation .. (shrink)

As part of their corporate social responsibility, many organizations practice cause-related marketing, in which organizations donate to a chosen cause with every consumer purchase. The extant literature has identified the importance of the fit between the organization and the nature of the cause in influencing corporate image, as well as the influence of a connection between the cause and consumer preferences on brand attitudes and brand choice. However, prior research has not addressed which cause composition most appeals to consumers (...) or the impact of cause choice on corporate image. A between-subjects field experiment in the Netherlands examines the influence of three core cause attributes—cause type, cause scope, and cause acuteness—on consumers’ perceptions of corporate image. Furthermore, this experiment examines the extent to which consumer identification with the cause mediates the influence of the cause attributes on corporate image. The findings indicate that identification with the cause leads to more positive evaluations of marketing campaigns for cause type and cause scope. Also, however, our results uncover a negative direct relationship between cause scope and corporate image. Cause acuteness is only marginally influential in corporate image perceptions. By proposing and testing a comprehensive model of the influence of cause attributes on corporate image in cause-related marketing, this article provides important implications and suggests avenues for further research. (shrink)

The prediction of protein–protein interactions based on independently obtained structural information for each interacting partner remains an important challenge in computational chemistry. Procedures where hypothetical interaction models (or decoys) are generated, then ranked using a biochemically relevant scoring function have been garnering interest as an avenue for addressing such challenges. The program PatchDock has been shown to produce reasonable decoys for modeling the association between pig alpha-amylase and the VH-domains of camelide antibody raised against it. We designed a biochemically (...) relevant method by which PatchDock decoys could be ranked in order to separate near-native structures from false positives. Several thousand steps of energy minimization were used to simulate induced fit within the otherwise rigid decoys and to rank them. We applied a partial free energy function to rank each of the binding modes, improving discrimination between near-native structures and false positives. Sorting decoys according to strain energy increased the proportion of near-native decoys near the bottom of the ranked list. Additionally, we propose a novel method which utilizes regression analysis for the selection of minimization convergence criteria and provides approximation of the partial free energy function as the number of algorithmic steps approaches infinity. (shrink)

The Symposium is one of Plato’s most literary and poetic dialogues. How might one reconcile this evidence of Plato’s predilection for poetry in light of his severe critique of poetry in the Republic? Though his critique is modified and refined in other dialogues, the power of his critique is nowhere significantly undermined. I argue in this paper that Plato’s poetic writing is not inconsistent with his critique, and that in fact there is an affinity between his practice of poetry and (...) his critique. Plato’s critique of poetry is not aimed against poetry itself, but just against its problematic claims and false promises. In turn, Plato’s use of the poetic image, especially in relationship to eros, delimits philosophy, and places it in relation to that which is not attainable for it. The battle between poetry and philosophy is seen to involve a reciprocal benefit for both, and a hidden affinity. In this sense, the poetic image has its philosophical sense precisely because it falls outside of the philosophical perspective. (shrink)

It is often stated that the image of the world which our senses present to us contradicts the scientific worldview in important respects. I challenge this position through a number of arguments centered on the nature of perception and of perceived qualities.

Wentzel van Huyssteen's book Alone in the World? provides a thoughtful and nuanced account of human evolution from a theological perspective. Not only does his work provide what is perhaps the only sustained theological reflection specifically on human evolution, but his working through of many of the issues, particularly on the image of God literature in theology, has few parallels. Despite this, I focus on what I consider to be several weaknesses of the text, including areas of theological method, (...) theological interpretation, and the central topic of human uniqueness. Addressing these weaknesses will, I propose, improve van Huyssteen's argument and lead in new and fruitful directions. (shrink)

“Walk on the Sun” is an interactive experience of image as music. As explorers move across images that are data projected onto the floor, their movements are visually tracked and used to select pixels in the images which they immediately hear as musical pitches played by various instruments. The sonification design maps color to one of 9 instruments, brightness to one of 50 pitches, and location in the image to panning position, creating 57,600 differentiable musical events. This high (...) resolution and interactive auditory presentation of pixel data enables the blind to explore images of the Sun from the STEREO space mission, nebula and galactic images from Hubble, as well as art masterpieces. Specifically, the blind can hear when hot spots cross the center of the Sun or the solar winds and corona are changing by sonifying virtual geometric structures, such as lines and circles, to create chords of music reflecting the changing content of the selected pixels within that structure as images are played as movies. Originally funded by a NASA/STSCI Ideas grant, the exhibit has toured to more than 12 cities in the US, visiting blind and science centers in the process and receiving enthusiastic response throughout. Plans for additional work furthering NASA wide image sonification standards are in process. (shrink)

: Peter Galison has recently claimed that twentieth-century microphysics has been pursued by two distinct experimental traditions--the image tradition and the logic tradition--that have only recently merged into a hybrid tradition. According to Galison, the two traditions employ fundamentally different forms of experimental argument, with the logic tradition using statistical arguments, while the image tradition strives for non-statistical demonstrations based on compelling ("golden") single events. I show that discoveries in both traditions have employed the same statistical form of (...) argument, even when basing discovery claims on single, golden events. Where Galison sees an epistemic divide between two communities that can only be bridged by a creole- or pidgin-like "interlanguage," there is in fact a shared commitment to a statistical form of experimental argument. (shrink)

Modifying images for scientific publication is now quick and easy due to changes in technology. This has created a need for new image processing guidelines and attitudes, such as those offered to the research community by Doug Cromey (Cromey 2010). We suggest that related changes in technology have simplified the task of detecting misconduct for journal editors as well as researchers, and that this simplification has caused a shift in the responsibility for reporting misconduct. We also argue that the (...) concept of best practices in image processing can serve as a general model for education in best practices in research. (shrink)

In his book, The Scientific Image, van Fraassen lucidly draws an alternative to scientific realism, which he calls "Constructive Empiricism". In this epistemological theory, the concept of observability plays the pivotal role: acceptable theories may be believed only where what they say solely concerns observables. Van Fraassen develops a concept of observability which is, as he admits, vague, relative, science-dependent, and anthropocentric. I draw out unacceptable consequences of each of these aspects of his concept. Also, I argue against his (...) assumption that "empirical adequacy" is the same thing as "saving the phenomena", according to his sense of the expressions. (shrink)

Of all the scientific disciplines chemistry seems to be particularly concerned about its public image. Indeed, popular associations with chemistry range from poisons, hazards, chemical warfare, and environmental pollution to alchemical pseudo-science, sorcery, and mad scientists. Despite repeated campaigns for convincing the public that chemistry would bring health, comfort, and welfare, chemists frequently meet with hostility in popular culture. As student enrollment numbers has been shrinking, chemistry departments have been closed in several countries. Also in humanist culture chemistry has (...) a very low profile; philosophers in particular keep to their traditional neglect of anything related to chemistry. Of course, chemists have always been complaining about their low prestige, the lack of public acknowledgment of their achievements, and the misguiding popular associations with chemistry, such that we now have a long record of complaints of almost two centuries. More recently, in response to their public image, chemists have tried to launch slogans such as ‘green chemistry’ or even dropped the term ‘chemistry’ altogether and adopted more fashionable labels such as ‘materials science’, ‘molecular science’, or ‘nanotechnology’. Surprisingly or not, chemists have never translated their complaints into serious research programs to understand the public image of chemistry in its cultural and historical contexts. To be sure, chemical societies and, particularly, the chemical industry have commissioned many reports for promotional or marketing purposes. Yet, such reports usually scratch only on the surface and may well have recommended one or the other camouflage tactics. Even the recent boost of academic research in Public Understanding of Science (PUS) has virtually excluded chemistry and, instead, focused on topics such as ‘Frankenfood’ and genetic engineering. The failure to deal with chemistry in PUS studies is more serious than the traditional neglect in the humanities, because stereotypes of chemistry have dominated the popular image of science in general.. (shrink)