This paper describes an experimental platform for approximate knowledge databases called the Approximate Knowledge Database, based on a semantics inspired by rough sets. The implementation is based upon the use of a standard SQL database to store logical facts, augmented with several query interface layers implemented in JAVA through which extensional, intensional and local closed world nonmonotonic queries in the form of crisp or approximate logical formulas can be evaluated tractably. A graphical database design user interface is also provided which (...) simplifies the design of databases, the entering of data and the construction of queries. The theory and semantics for AKDBs is presented in addition to application examples and details concerning the database implementation. (shrink)

Neural cell adhesion molecules of the immunoglobulin superfamily are important components of the network of guidance cues and receptors that govern axon growth and guidance during development. For neural cell adhesion molecule L1, the combined application of human genetics, knockout mouse technology, and cell biology is providing fundamental insight into the role of L1 in mediating neuronal differentiation. Disease-causing mutations as well as mouse models of L1 disruption can now be used to examine the relevance of L1 binding specificities and (...) signal transduction pathways that have been observed in vitro. BioEssays 20:668–675, 1998.© 1998 John Wiley & Sons Inc. (shrink)

Fibroblast growth factor receptors (FGFRs) have been implicated in many developmental and regenerative events, including axial organisation, mesodermal patterning, keratinocyte organisation and brain development. The consensus view that this reflects a role for one or other of the nine known members of the fibroblast growth factor family in these processes has recently been challenged by the suggestion that FGFRs might be directly activated by a much wider range of ligands, including heparan sulphate proteoglycans and neural cell adhesion molecules. In addition, (...) two novel soluble ligands for FGFRs have been identified using yeast two‐hybrid technology. Overall, the new findings suggest that in terms of ligand binding the FGFRs might be an even more promiscuous family of receptor tyrosine kinases than was already appreciated. (shrink)

Although wonder is a response to what is extraordinary or regarded as such, this covers a variety of things. Hence, wonder covers a spectrum from mere surprise or puzzlement to stronger responses like dread or amazement; moreover, it is often linked to other powerful responses like fear or admiration, and it can lead people into many pursuits and areas of reflection. I look at the variety of the objects of wonder, and of the neighbouring responses and conceptual connections found here, (...) then I discuss the response of wonder itself, and its causes and effects. Finally, I ask why the sense of wonder can atrophy, and whether it can be suppressed deliberately. (shrink)

Relativism is the view that the truth of a sentence is relative both to a context of utterance and to a context of assessment. That the truth of a sentence is relative to a context of utterance is uncontroversial in contemporary semantics. This chapter focuses on three points: whether the version of contextualism is vulnerable to the disagreement and retraction arguments, and if so, whether these problems can be avoided by a more sophisticated contextualist theory. The points include: whether relativism (...) really does avoid the four problems posed for the other theories; and whether there are other theories that also avoid the problems, without running into the problems facing relativism or problems of their own. The chapter concentrates on two families of views that have been called relativist: Relativism about propositional truth; and Relativism about utterance truth. (shrink)

This book launches a sustained defense of a radical interpretation of the doctrine of the open future. Patrick Todd argues that all claims about undetermined aspects of the future are simply false.

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

"If our procedure is to work steadily in the direction of drawing as fine art, rather than beginning from examples of such art, where shall we begin? One attractive possibility is to begin at the beginning—not the beginning in prehistory, which is already wonderful art, but with our personal beginnings as children. From there it will be the ambitious project of this book to investigate 'the course of drawing,' from the first marks children make to the greatest graphic arts of (...) different cultures."—from the Introduction Patrick Maynard surveys the rich and varied practices of drawing, from the earliest markings on cave walls to the complex technical schematics that make the modern world possible, from cartoons and the first efforts of preschoolers to the works of skilled draftspeople and the greatest artists, East and West. Despite, or perhaps because of, its ubiquity, drawing as such has provoked remarkably little philosophical reflection. Nonphilosophical writing on the topic tends to be divided between specialties such as art history and mechanics. In this engagingly written and well-illustrated book, Maynard reveals the interconnections and developments that unite this fundamental autonomous human activity in all its diversity. Informed by close discussion of work in art history, art criticism, cognitive and developmental psychology, and aesthetics, Drawing Distinctions presents a theoretically sophisticated yet approachable argument that will improve comprehension and appreciation of drawing in its many forms, uses, and meanings. (shrink)

Organisationen spielen in modernen Gesellschaften eine zentrale Rolle. Der Beitrag geht davon aus, dass in den mittlerweile etablierten Formen von Ethik und Ethikberatung in Einrichtungen des Gesundheitssystems eine angemessene Reflexion des Organisationsbezugs oft ausbleibt bzw. eine besondere Herausforderung darstellt. Wir konzipieren deshalb eine „prozedurale Organisationsethik“, die sich kritisch mit der organisationalen Passung der Prozesse ethischer Reflexion auseinandersetzt. Daraus lassen sich als Anregung für Theorie und Praxis von ethischen Prozessen praktische Schlussfolgerungen ableiten. Sie betreffen die Orte der Differenzsetzung für die Frage (...) nach dem Guten; die ethischen Hintergrundtheorien und die Frage nach der organisatorischen Verknüpfung der Reflexionssettings. (shrink)

Definition of the problem Organisations play a vital role in modern societies. This article presumes a lack of sufficient organisational reflection of well-established forms of ethics and ethics counselling in institutions belonging to the health sector or sees particular challenges where it is implemented. Arguments We have therefore conceived a procedural type of organisational ethics which critically examines the organisational fit of processes in terms of ethical reflection, leading to practicable suggestions. Conclusions On the one hand they relate to where (...) differences are established when asking for the good; on the other hand they are concerned with background theories and the organisational fit of the reflection settings. (shrink)

The fundamental problem considered is that of the existence of a joint probability distribution for momentum and position at a given instant. The philosophical interest of this problem is that for the potential energy functions (or Hamiltonians) corresponding to many simple experimental situations, the joint "distribution" derived by the methods of Wigner and Moyal is not a genuine probability distribution at all. The implications of these results for the interpretation of the Heisenberg uncertainty principle are analyzed. The final section consists (...) of some observations concerning the axiomatic foundations of quantum mechanics. (shrink)

Griinbaum's own article sets forth his views on the ontology of the curvature of empty space, especially in the geometrodynamics of Clifford and Wheeler. ...

C. A. W. Manning was an important figure in the early days of what became known as the English School, and was one of the most philosophically explicit articulators of the interpretivist approach t...

Three main lines of arguments are presented as a defense of randomization in experimental design. The first concerns the computational advantages of randomizing when a well-defined underlying theoretical model is not available, as is often the case in much experimentation in the medical and social sciences. The high desirability, even for the most dedicated Bayesians, of physical randomization in some special cases is stressed. The second line of argument concerns communication of methodology and results, especially in terms of concerns about (...) bias. The third line of argument concerns the use of randomization to guarantee causal inferences, whether the inference consists of the identification of a prima facie or a genuine cause. In addition, the relation of randomization to measures of complexity and the possibility of accepting only random procedures that produce complex results are discussed. (shrink)

Retributivism is often explicitly or implicitly assumed to be compatible with the harm principle, since the harm principle (in some guises) concerns the content of the criminal law, while retributivism concerns the punishment of those that break the law. In this essay I show that retributivism should not be endorsed alongside any version of the harm principle. In fact, retributivists should reject all attempts to see the criminal law only through (other) person-affecting concepts or “grievance” morality, since they should endorse (...) the criminalization of conduct that is either purely self-harming or good for somebody and bad for nobody (i.e., Pareto improvements). (shrink)

In this paper, we are concerned with the development of a general set theory using the single axiom version of Leśniewski’s mereology. The specification of mereology, and further of Tarski’s geometry of solids will rely on the Calculus of Inductive Constructions (CIC). In the first part, we provide a specification of Leśniewski’s mereology as a model for an atomless Boolean algebra using Clay’s ideas. In the second part, we interpret Leśniewski’s mereology in monadic second-order logic using names and develop a (...) full version of mereology referred to as CIC-based Monadic Mereology (λ-MM) allowing an expressive theory while involving only two axioms. In the third part, we propose a modeling of Tarski’s solid geometry relying on λ-MM. It is intended to serve as a basis for spatial reasoning. All parts have been proved using a translation in type theory. (shrink)

The details of St. Thomas Aquinas’s anthropological view are subject to debate. Some philosophers believe he held that human persons survive their deaths. Other philosophers think he held that human persons cease to exist at their death, but come back into being at the general resurrection. In this paper, I defend the latter view against one of the most significant objections it faces, namely, that it entails that God punishes and rewards separated souls for the sins or merits of something (...) else: the (non-existent) persons to whom those souls once belonged. The objector takes this entailment to be problematic. I argue that it fits in well with St. Thomas’s views about punishment and about persons. (shrink)

The role of the concept of invariance in physics and geometry is analyzed, with attention to the closely connected concepts of symmetry and objective meaning. The question of why the fundamental equations of physical theories are not invariant, but only covariant, is examined in some detail. The last part of the paper focuses on the surprising example of entropy as a complete invariant in ergodic theory for any two ergodic processes that are isomorphic in the measure-theoretic sense.

This book defends the conjugal view of marriage. Patrick Lee and Robert P. George argue that marriage is a distinctive type of community: the union of a man and a woman who have committed to sharing their lives on every level of their beings (bodily, emotionally, and spiritually) in the kind of union that would be fulfilled by conceiving and rearing children together. The comprehensive nature of this union, and its intrinsic orientation to procreation as its natural fulfillment, distinguishes (...) marriage from other types of community and provides the basis for the norms of marital exclusivity and permanence. Lee and George detail how the basic moral norms regarding sexual acts follow from the ethical requirement to respect the good of marriage and explain how the law should treat marriage, given its conjugal nature, examining both the same-sex-marriage issue and civil divorce. (shrink)

This study examines how people engage with the dynamic environment of the dog park in the face of unclear or ambiguous rules and emergent norms. Using participant observation, the analysis shows how, in the formal dog park, caretakers become “control managers” who must negotiate problems related to a variety of dog behaviors, especially mounting, aggression, and waste management. In this process, caretakers use various strategies to manage their own and others’ possible perceptions and understandings of appropriate behavior for dogs in (...) public places. (shrink)