In this note we present a three-valued intensional logic, which is an extension of both Montague's intensional logic and ukasiewicz three-valued logic. Our system is obtained by adapting Gallin's version of intensional logic (see Gallin, D., Intensional and Higher-order Modal Logic). Here we give only the necessary modifications to the latter. An acquaintance with Gallin's work is pressuposed.

O leitor tem em mãos a tradução de um texto escrito por Thomas H. Huxley, publicado anonimamente no Jornal Times de 26 de novembro de 1859 – apenas dois dias após o lançamento oficial do livro Origem das espécies, a que ocupou 3 colunas e ½ de letrinhas miúdas daquela edição, e que, posteriormente fora lido por Schopenhauer, tal como ele mesmo menciona para o discípulo Adam von Doß, em uma carta de 01 de março de 1860, também o ano (...) de morte do filósofo. É após a leitura deste texto que Schopenhauer (equivocadamente, a meu ver) acusa categoricamente para Doß, que a teoria de Darwin é um mero “empirismo raso”, uma “variação da teoria de Lamarck” (GBr, 2008, p. 1587). Embora tenha sido publicado anonimamente – um costume comum na época, especialmente quando autores queriam promover positivamente com resenhas a sua própria obra perante ao público –, sabemos que a autoria é de Huxley, pois ele próprio confessara isso para seu grande amigo Charles Darwin. Primeiro Darwin lhe questionou, apenas dois dias depois da publicação do Times (28 de dezembro de 1859): “Quem poderá ser? Sem dúvida, eu diria que só existe um homem na Inglaterra que poderia ter redigido esse Ensaio, e que era você esse homem. Mas presumo que eu esteja errado e que exista algum gênio oculto de grande quilate. Pois de que modo você poderia influenciar o Jupiter Olympus [como comumente era chamado o Jornal Times] e fazê-lo conceder 3 ½ colunas à ciência pura?” (DARWIN, Correspondência de 28/12/1859, 2009, p. 279). Fora preservada uma segunda carta de Darwin para Huxley, datada de 01/01/1960 em que ele diz: “Várias pessoas me perguntaram quem escreveu aquele ‘artigo mais notável’ no Times [...] Escrevo apenas para dizer que guardarei o seu segredo” (Darwin Correspondence Project, carta 2633). A biógrafa Janet Browne (2011, p. 142) explica minuciosamente toda a história da produção do texto do Times dizendo que Hooker (outro famoso cientista amigo de Darwin) fizera um acordo com Samuel Lucas “resenhista regular do Times [...] combinando que Huxley escreveria a resenha”. Explicado todos esses detalhes históricos, acrescento apenas que todas as notas de rodapé, com exceção da que está anexada ao título (*), são da minha autoria. (shrink)

This article gives a conceptual review of the e-value, ev(H|X) – the epistemic value of hypothesis H given observations X. This statistical significance measure was developed in order to allow logically coherent and consistent tests of hypotheses, including sharp or precise hypotheses, via the Full Bayesian Significance Test (FBST). Arguments of analysis allow a full characterization of this statistical test by its logical or compositional properties, showing a mutual complementarity between results of mathematical statistics and the logical desiderata lying at (...) the foundations of this theory. (shrink)

The Current research seeks the study of the identity relationships in the early Christianity starting from the reception of Elements of the Religious Hellenism. These confluences advents previously of the relationships with the Judaism of Diaspora, in Egito Ptolomaico (LXX. séc. IV a.C), they are consolidated with the formation geopolitics and religious person of the Expansion of the Christianity in Minor Asia, during IIo Century. Through the exhibition of ‘The Religious Context of Early Christianity’ (KLAUS, 2000) we will approach Hellenistic’s (...) Religion vicissitudes in mutation between the Philosophy of the Happiness and ‘the Return of the Divine Absolute’ in Gnosticism. (shrink)

To the historian of art, it is evident that the two authors’ notion of ‘art’ is of very recent date, and not shared by everybody. They claim: ‘The purpose of art, surely, is not merely to depict or represent reality -- for that can be accomplished very easily with a camera -- but to enhance, transcend, or even to distort reality’ . They do not explain how one could photograph Paradise or Hell, the Creation of the World, the Passion of (...) Christ, or the escapades of the ancient gods -- all subjects that can be found represented in our museums. Nor is it more legitimate to generalize from certain Indian conventions of representing the female nude than it is for the academic tradition to take the Venus de Medici for the same purpose. Even a fleeting visit to one of the great museums might serve to convince the authors that few of the exhibits conform to the laws of art they postulate. [followed by response from V.S. Ramachandran]. (shrink)

This article proposes a geostatistical solution for area-to-point spatial prediction (downscaling) taking into account boundary effects. Such effects are often poorly considered in downscaling, even though they often have significant impact on the results. The geostatistical approach proposed in this article considers two types of boundary conditions (BC), that is, a Dirichlet-type condition and a Neumann-type condition, while satisfying several critical issues in downscaling: the coherence of predictions, the explicit consideration of support differences, and the assessment of uncertainty regarding the (...) point predictions. An updating algorithm is used to reduce the computational cost of area-to-point prediction under a given BC. In a case study, area-to-point prediction under a Dirichlet-type BC and a Neumann-type BC is illustrated using simulated data, and the resulting predictions and error variances are compared with those obtained without considering such conditions. (shrink)

In the fourth section of Goethe’s Zahme Xenien we find the quatrain from which I have taken the theme of such an old and new controversy, which, as I hope, concerns both Germanic studies and the other humanities: “What was it that kept you from us so apart?” I always read Plutarch again and again. “And what was the lesson he did impart?” “They were all human beings—so much is plain.”1 In the very years when Goethe wrote these lines, that (...) is in the 1820s, Hegel repeatedly gave his lectures on the philosophy of history. Right at the beginning he formulated the opposite view which I should like briefly to characterize as “cultural relativism.”Every age has such peculiar circumstances, such individual conditions that it must be interpreted, and can only be interpreted, by reference to itself…. Nothing is shallower in this respect than the frequent appeal to Greek and Roman example which so often occurred among the French at the time of their Revolution. Nothing could be more different than the nature of these peoples and the nature of our own times.2 What is at issue here is not, of course, Hegel’s assertion that ages and peoples differ from each other. We all know that, and Goethe, the attentive reader and traveler, also knew, for instance, that the Roman carnival differed in its character from the celebrations of the Feast of Saint Rochus at Bingen, both of which he had described so lovingly. What makes the cultural historian into a cultural relativist is only the conclusion which we saw Hegel draw, that cultures and styles of life are not only different but wholly incommensurable, in other words that it is absurd to compare the peoples of a region or an age with human beings of other zones because there is no common denominator that would justify us in doing so. 1. ‘Was hat dich nun von uns entfernt?’ Hab immer den Plutarch gelesen. ‘Was has du den dabei gelernt?’ Sind eben alles Menschen gewesen.’ Johann Wolfgang von Goethe, Sämtlich Werke. Jubiläums-ausgabe in 40 Bänden 4:73; with commentary.2. See Georg Wilhelm Friedrich Hegel, Vorselungen über die Philosophie der Geschichte, Werke, 20 vols. , 12:17. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, Ideals and Idols, The Image and the Eye, Tributes, Aby Warburg, and New Light on Old Masters. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future” , “Standards of Truth: The Arrested Image and the Moving Eye” , and “Representation and Misrepresentation”. (shrink)

Professor Gombrich's last book and first narrative work in over 20 years.