Research Ethics, Volume 18, Issue 1, Page 64-83, January 2022. Automated, wearable cameras can benefit health-related research by capturing accurate and objective information about individuals’ daily experiences. However, wearable cameras present unique privacy- and confidentiality-related risks due to the possibility of the images capturing identifying or sensitive information from participants and third parties. Although best practice guidelines for ethical research with wearable cameras have been published, limited information exists on the risks of studies using wearable cameras. The aim of this (...) literature review was to survey risks related to using wearable cameras, and precautions taken to reduce those risks, as reported in empirical research. Forty-five publications, comprising 36 independent studies, were reviewed, and findings revealed that participants’ primary concerns with using wearable cameras included physical inconvenience and discomfort in certain situations. None of the studies reviewed reported any serious adverse events. Although it is possible that reported findings do not include all risks experienced by participants in research with wearable cameras, our findings suggest a low level of risk to participants. However, it is important that investigators adopt recommended precautions, which can promote autonomy and reduce risks, including participant discomfort. (shrink)

This essay employs insights from embodied approaches to cognition to develop a tighter grasp on the phenomenon of camera mobility. Close readings of two early masterpieces of German cinema investigate how the viewer relates to camera movement on the basis of kinaesthetic empathy and is thereby transported, emotionally gripped or expelled from the storyworld. I argue that the construction of the fictional world is based on this specific viewing attitude, which invites us either to merely observe or, in (...) contrast, to engage with the events on screen. As a consequence, the investigation of camera movement on the basis of embodied cognition helps us both to gain a deeper understanding of how we are drawn into the space defined by camera movement and to open up the possibility of a ‘natural’ history of camera conventions as they were established at this early stage of cinema. (shrink)

RESUMEN Este artículo explora si hay algún fundamento sólido para atribuir a Leonardo da Vinci prioridad en la formulación del símil que lleva a concebir el ojo como una cámara obscura. Aquí, se defiende una posición pesimista. No obstante, el artículo resalta algunos aportes del pintor renacentista que pueden considerarse contribuciones a la consolidación del símil. ABSTRACT The article explores whether there is any solid basis for attributing to Leonardo da Vinci the priority in formulating the simile that leads to (...) conceiving the eye as a camera obscura. Here, a pessimistic position is defended, however, the article highlights some of Leonardo's contributions to the consolidation of the simile. (shrink)

The essay aims at demonstrating that it is dangerous to try to reconstruct a philosophical doctrine taking into account solely or predominantly the analysis of vocabulary. This is particularly true of the philosophical doctrines of the ancients, who generally did not feel obliged to adopt a coherent and unambiguous technical terminology. Starting from the essay of F. Camera, Sui molteplici significati di hermeneia in Platone, which was published in 2004 and then re-edited in 2011 with few modifications but with (...) a different title, the author shows that the method of facing Plato’s hermeneutics through the ἑρμηνεύειν-words is a source of distortions and over-interpretations; that is, it causes excessive density and conceptual significance to be attributed to words used instead in their current meaning. One must remember, even if it should be well known to anyone who devotes himself to these themes, that not all words, expressions and concepts become philosophical entities only because they appear in the works of an author tagged “philosophy.”. (shrink)

In the United States, the steady yellow light means that a driver should either speed up or slow down. State laws written about a driver’s behavior at these yellow lights are vague and indeterminate and result in what is referred to as the dilemma zone (Hurwitz et al. in Transp Res Part F Traffic Psychol Behav 15(2): 132–143, 2012). This paper will reconsider law’s vagueness as intentional rather than problematic, insofar as cultural understandings of the yellow light lead to a (...) framework of visual jurisprudence in which drivers interact with law through legal discretion and common sense confronting a yellow light. Through a jurisprudential juxtaposition between the yellow light and red light cameras used to enforce yellow lights, the semiotics of automaticity compete with the semiotics of context-bound decision-making. (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host of (...) other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

The effective-photon hypothesis postulates a photon energy variable with light intensity according to a relation of the form ε=hv/[1−β 0 f(I)]=hv 1 . This hypothesis has been subjected to direct experimental test. A Mach-Zehnder interferometer is illuminated with aQ-spoiled Nd:glass laser and the time history of the interference fringes is recorded with an image converter camera. The experimental results show that indeed the laser pulse is not monochromatic and that a large frequency change occurs with light intensity. In addition, (...) the analysis of the results indicates that the principle of conservation of energy is not in contradiction with the hypothesis of “effective photon,” provided photons can exchange energy among themselves. (shrink)

With the rapid growth of informatics systems’ technology in this modern age, the Internet of Things (IoT) has become more valuable and vital to everyday life in many ways. IoT applications are now more popular than they used to be due to the availability of many gadgets that work as IoT enablers, including smartwatches, smartphones, security cameras, and smart sensors. However, the insecure nature of IoT devices has led to several difficulties, one of which is distributed denial-of-service (DDoS) attacks. IoT (...) systems have several security limitations due to their disreputability characteristics, like dynamic communication between IoT devices. The dynamic communications resulted from the limited resources of these devices, such as their data storage and processing units. Recently, many attempts have been made to develop intelligent models to protect IoT networks against DDoS attacks. The main ongoing research issue is developing a model capable of protecting the network from DDoS attacks that is sensitive to various classes of DDoS and can recognize legitimate traffic to avoid false alarms. Subsequently, this study proposes combining three deep learning algorithms, namely recurrent neural network (RNN), long short-term memory (LSTM)-RNN, and convolutional neural network (CNN), to build a bidirectional CNN-BiLSTM DDoS detection model. The RNN, CNN, LSTM, and CNN-BiLSTM are implemented and tested to determine the most effective model against DDoS attacks that can accurately detect and distinguish DDoS from legitimate traffic. The intrusion detection evaluation dataset (CICIDS2017) is used to provide more realistic detection. The CICIDS2017 dataset includes benign and up-to-date examples of typical attacks, closely matching real-world data of Packet Capture. The four models are tested and assessed using Confusion Metrix against four commonly used criteria: accuracy, precision, recall, and F-measure. The performance of the models is quite effective as they obtain an accuracy rate of around 99.00%, except for the CNN model, which achieves an accuracy of 98.82%. The CNN-BiLSTM achieves the best accuracy of 99.76% and precision of 98.90%. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art, Mind, and IntentionNoël CarrollArt and Intention: A Philosophical Study, by Paisley Livingston ; 266 pp. oxford: oxford University Press, 2005, $74.00, $35.00 paper.The relevance of intention to the philosophy of art was perhaps first made explicit by G.W.F. Hegel who, in his monumental The Philosophy of Fine Art, narrowed the domain of aesthetics to art on the grounds that the beauty that pertains to art is the product (...) of mind. Though Hegel does not single out intention as the aspect of mind that impresses him, his definition of fine art in terms of that which possesses an aim that imbues the pertinent art with content makes it probable that what he is talking about is intention. Since Hegel's day, but maybe most especially in the last three decades, philosophers of art have relied upon the notion of intention to attempt to solve many of the recurring problems of their field, including not only issues involving art status, but those involving authorship, interpretation, and fictional truth, among others. In Art and Intention: A Philosophical Study, Paisley Livingston has performed the very valuable service of corralling a substantial number of topics regarding the intersection of art and intention between the covers of one book.Although there are books devoted to exploring the relation of art and intention with respect to specific topics, most notably interpretation, there is, to my knowledge, no other book like Livingston's that surveys such a diversity of issues concerning the nexus of intention and the [End Page 394] philosophy of art. Thus, Art and Intention should be a welcome addition to the library of any aesthetician.Art and Intention comprises seven chapters. The first chapter, reasonably enough, involves a discussion of what it is to be an intention. For Livingston, who follows the action theorist Alfred Mele quite closely, an intention standardly consists of a propositional attitude in addition to a propositional content toward which said attitude is directed. The propositional attitude is executive in nature—that is, where x is the content, the intender is firmly settled upon or committed to perform x, or, at least, to try to perform x. The propositional content of an intention, in turn, is what Livingston calls a plan. An intention then is an executive attitude towards plans.I am a bit unhappy with this formulation, since I worry that it may be somewhat misleading. To my ear, the word plan insinuates the idea of a formulated method, whereas many intentional actions, including those of artists, are scarcely worked out beforehand but emerge instead in the heat of doing things. Livingston is aware of this and appears to require no more of plans in his sense than that they involve at least a rudimentary grasp of the means for carrying off the purposes at hand. This seems right to me, but it still strikes me as strained to call this sort of procedural knowledge a plan.When Jasper Johns denies that he plans to make a picture in a certain way, but rather only follows a thought that pulls in a certain direction, he does not mean to disagree with Livingston, though his choice of words seems at odds with Livingston's.1 For Johns's, like many others, plan means a precise formulation, whereas for the action theorist it is a technical term of art with broader signification. Nevertheless, since the word still retains its ordinary meaning, the possibility for confusion here is rife. So, perhaps another word can be found or, maybe, coined.Chapter 2 concerns intention and the creation of art. Livingston spends the first part of the chapter fending off counterexamples, like automatic writing, that might be adduced to challenge the claim that artworks require intentions. I am very sympathetic with his treatment of the examples he canvasses. However, I would be curious to hear what he would say about a case that I've heard described of a show at MOMA several decades back where images culled from surveillance cameras, operating automatically, were exhibited.2 These specific images were not produced intentionally by anyone. But aren't they art? Perhaps the curators will be assigned the... (shrink)

The era of post-modernity has completely changed the way that we see, recognize and question the world, and what we accept to be true. During and after the 1960s many witnessed the rise of a greater multiplicity of local narratives. Prior to this, the grand narratives of the past, such as religion, the Enlightenment, and science were taken as whole, singular truths. However, such metanarratives tend to ignore the individual experiences that do not fit neatly into categories constructed by major (...) institutional authorities. This disconnection from the personal pushed more people to doubt, in favour of the narrative where the Self is visible and heard. It can be argued that this revolution in thought, and meaning and narrative-making in America grew after the assassination of President John F. Kennedy in 1963. By examining Jean-Francois Lyotard’s theory of postmodernity, and those who expanded on his ideas, we can highlight how the assassination of JFK marked the onset and rise of the postmodern conspiracy theory. This includes the deconstruction of trust, the breakdown of “objective” reality and identity markers as well as the use of new mass media technologies, such as the film camera and the television. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

This research note is meant to introduce into philosophical discussion the preliminary results of an empirical study on the state of blacks in philosophy, which is a joint effort of the American Philosophical Association’s Committee on the Status of Black Philosophers (APA CSBP) and the Society of Young Black Philosophers (SYBP). The study is intended to settle factual issues in furtherance of contributing to dialogues surrounding at least two philosophical questions: What, if anything, is the philosophical value of demographic diversity (...) in professional philosophy? And what is philosophy? The empirical goals of the study are (1) to identify and enumerate U.S. blacks in philosophy, (2) to determine the distribution of blacks in philosophy across career stages, (3) to determine correlates to the success of blacks in philosophy at different career stages, and (4) to compare and contrast results internally and externally to explain any career stage gaps and determine any other disparities. (shrink)

The globalization in business and tourism becomes crucial more and more for the economical sustainability of local communities. In the presence of an epidemic outbreak, there must be such a decision on the policy by the host community as whether to accept visitors or not, the number of acceptable visitors, or the condition for acceptable visitors. Making use of an SIRI type of mathematical model, we consider the influence of visitors on the spread of a reinfectious disease in a community, (...) especially assuming that a certain proportion of accepted visitors are immune. The reinfectivity of disease here means that the immunity gained by either vaccination or recovery is imperfect. With the mathematical results obtained by our analysis on the model for such an epidemic dynamics of resident and visitor populations, we find that the acceptance of visitors could have a significant influence on the disease’s endemicity in the community, either suppressive or supportive. (shrink)

Today we are all familiar with the iconic pictures of the nebulae produced by the Hubble Space Telescope’s digital cameras. But there was a time, before the successful application of photography to the heavens, in which scientists had to rely on handmade drawings of these mysterious phenomena. Observing by Hand sheds entirely new light on the ways in which the production and reception of handdrawn images of the nebulae in the nineteenth century contributed to astronomical observation. Omar W. Nasim investigates (...) hundreds of unpublished observing books and paper records from six nineteenth-century observers of the nebulae: Sir John Herschel; William Parsons, the third Earl of Rosse; William Lassell; Ebenezer Porter Mason; Ernst Wilhelm Leberecht Tempel; and George Phillips Bond. Nasim focuses on the ways in which these observers created and employed their drawings in data-driven procedures, from their choices of artistic materials and techniques to their practices and scientific observation. He examines the ways in which the act of drawing complemented the acts of seeing and knowing, as well as the ways that making pictures was connected to the production of scientific knowledge. An impeccably researched, carefully crafted, and beautifully illustrated piece of historical work, Observing by Hand will delight historians of science, art, and the book, as well as astronomers and philosophers. (shrink)

IN 1903, commenting on an article he had written more than thirty years before, Charles Peirce said that he had changed his mind on many issues at least a half-dozen times but had "never been able to think differently on that question of nominalism and realism" (1.20). For anyone acquainted with Peirce's writings, this remark alone could justify a study of "that question.".

This landmark volume brings together the work of the world's leading researchers in sublimated perception. This compilation marks a fundamental shift in the current study of subliminal effects: No longer in question is the notion that perception without awareness occurs. Now, the emphasis is on elucidating the parameters of subliminal effects and understanding the conditions under which stimuli perceived without awareness significantly influence affect, cognition, and behavior. PERCEPTION WITHOUT AWARENESS firmly establishes subliminal perception within the mainstream of psychological science. Well (...) represented here are the two main research branches that have emerged: One directly investigates the nature of subliminal effects; the other uses subliminal techniques as tools for investigating psychological phenomena such as hypnosis, dreaming, repression, social judgment and inference, psychopathology, and symptom formation. Broadly grouped into three main sections, the contributed chapters explore * The cognitive perspective--including implicit memory and implicit perception, the measurement of unconscious perceptual processes, and methods for revealing unconscious processes * The clinical perspective--exploring the cognitive and dynamic aspects of subliminal perception, memory, and consciousness; direct recovery of subliminal stimuli; and validation of subliminal psychodynamic activation * The social perspective--discussing subliminal mere-exposure effects, affect and social perception, and the role of subliminality in social psychology Timely and thought-provoking, PERCEPTION WITHOUT AWARENESS is sure to be of enormous interest to all psychoanalytic clinicians and scholars, as well as cognitive, clinical, and social psychologists whose work touches upon issues relating to psychopathology, perception, cognition, and memory. (shrink)

The 1986 Cold Spring Harbor Symposium was on the subject of human genetics; it was the first symposium at Cold Spring Harbor on this topic since 1964. In the opening remarks for the conference, Walter F. Bodmer first summarized the progress in this field since 1964. He then described what is presently known about the functional complexity of the human genome and discussed the case for a definitive characterization and sequencing of the human genome. The following is an abridged and (...) slightly adapted version of this talk; it is reproduced courtesy of the Cold Spring Harbor Laboratory © 1987. (shrink)

D. Z. Phillips is a leading figure in advocating a Wittgensteinian approach to the philosophical study of religion. His writings exert an important influence on contemporary philosophy of religion, giving a new direction to the philosophical discussion of religious belief and practice. Although his work has prompted much - often critical - comment, a thorough investigation has not been forthcoming. Grammars of Faith fills that gap. The book pays close attention to Wittgenstein's own remarks on religious belief, arranging them against (...) the background of his broader philosophical methodology, as well as to the efforts of the early Wittgensteinians at providing a more comprehensive Wittgensteinian philosophy of religion. Central to this study are Phillips's understanding of philosophical enquiry as a form of contemplation, and his descriptive accounts of religious belief. By means of a careful and methodical examination of Phillips's oeuvre, the study seeks to present a fair assessment of Phillips's position, showing not only its weaknesses, but also its strength. (shrink)

Mounting ambitions and capabilities for public and private, non-government sector crewed space exploration bring with them an increasingly diverse set of space travelers, raising new and nontrivial ethical, legal, and medical policy and practice concerns which are still relatively underexplored. In this piece, we lay out several pressing issues related to ethical considerations for selecting space travelers and conducting human subject research on them, especially in the context of non-governmental and commercial/private space operations.

There is an interesting controversy in recent literature over the nature of Reid's theory of perception. Interpreters are divided over whether Reid's theory of perception is compatible with an acquaintance model of perception. This article discusses Nicholas Wolterstorff's objections to the acquaintance interpretation of Reid. I argue that these objections are inadequate insofar as they do not account for the possibility that Reid offers a ‘state conceptual’ – rather than a ‘state nonconceptual’ – acquaintance theory of perception. I provide textual (...) support for thinking that a state conceptual acquaintance interpretation of Reid is a live possibility, and show how such an interpretation is immune to Wolterstorff's criticisms. (shrink)

This book traces the history of philosophy in Great Britain from the time when it began to be written until the end of the Victorian era. A valuable feature is the extensive bibliography, which was revised especially for the first printing of this 1965 back edition.