The molecular mechanism of temperature‐dependent sex determination (TSD) is a long‐standing mystery. How is the thermal signal sensed, captured and transduced to regulate key sex genes? Although there is compelling evidence for pathways via which cells capture the temperature signal, there is no known mechanism by which cells transduce those thermal signals to affect gene expression. Here we propose a novel hypothesis we call 3D‐TSD (the three dimensions of thermolabile sex determination). We postulate that the genome has capacity to remodel (...) in response to temperature by changing 3D chromatin conformation, perhaps via temperature‐sensitive transcriptional condensates. This could rewire enhancer–promoter interactions to alter the expression of key sex‐determining genes. This hypothesis can accommodate monogenic or multigenic thermolabile sex‐determining systems, and could be combined with upstream thermal sensing and transduction to the epigenome to commit gonadal fate. (shrink)

L. J. Savage and I. J. Good have each demonstrated that the expected utility of free information is never negative for a decision maker who updates her degrees of belief by conditionalization on propositions learned for certain. In this paper Good's argument is generalized to show the same result for a decision maker who updates her degrees of belief on the basis of uncertain information by Richard Jeffrey's probability kinematics. The Savage/Good result is shown to be a special case of (...) the more general result. (shrink)

This Handbook is the first comprehensive survey of a rapidly expanding sub-field in archaeology, the study of the present and recent past. It seeks to explore the boundaries of this emerging area, to develop a tool-kit of concepts and methods, which are applicable to this new sub-field, and to suggest important future trajectories for research.

This paper begins by arguing that Jean-Luc Marion’s desire to maintain the philosophical rigor of his analysis of revelation has led him to mischaracterizerevelation as a purely formal phenomenon devoid of any determinate content. The majority of the paper is devoted to showing that the approach to revelation off ered by Paul Ricœur—whose treatment of the phenomenon assumes all of the risks of a thinking exposed to its own historicity—represents an important and all-too-often ignored counterpoint to the prevailing methodological (...) orientation among those associated with the so-called theological turn in phenomenology. The paper contrasts the prevailing methods concerned with uncovering fundamental or “originary” structures with a “hermeneutical” approach to revelation, concerned with the productive imagination and the effective nature of texts. (shrink)

Since the introduction of the new nursing curriculum in the United Kingdom, nurse edu cation has undergone a series of fundamental changes, including the introduction of stu dent status, closer links (and in many cases full integration) with higher education, and, for the majority of preregistration courses, the award of a higher education diploma. It is this author's opinion that, given the duration, nature and location of such courses, the award of a diploma amounts to a grave injustice and is (...) representative of a situation that is immoral and corrupt. This opinion is presented from the perspective of educational awards as goods or rewards to be distributed fairly, in recognition of the efforts and abil ities of students. (shrink)

David Ekdahl (2023), in a constructive and thoughtful commentary, outlines both points of agreement with and suggestions for further research arising from our paper ‘Crossing the Fictional Line: Moral Graveness, the Gamer’s Dilemma, and the Paradox of Fictionally Going Too Far’ (Montefiore & Formosa, 2023).

This study investigates the pattern of institutional shareholding in the U.K. and its relationship with socially responsible behavior by companies within a sample of over 500 UK companies. We estimate a set of ownership models that distinguish between long- and short-term investors and their largest components and which incorporate both aggregated and disaggregated measures of corporate social performance (CSP). The results suggest that long-term institutional investment is positively related to CSP providing further support for earlier studies by Johnson and Greening (...) (1999, Academy of Management Journal 42, 564–576) and Graves and Waddock (1994, Academy of Management Journal 37, 1034–1046). Disaggregation of CSP into its constituent components suggests that the pattern of institutional investment is also related to the form which CSP takes. Investigation of the impact of investment screens on the selection of stocks suggests that long-term institutional investors select primarily through exclusion, rejecting those firms which have the worst CSP. (shrink)

The Gamer’s Dilemma refers to the philosophical challenge of justifying the intuitive difference people seem to see between the moral permissibility of enacting virtual murder and the moral impermissibility of enacting virtual child molestation in video games (Luck Ethics and Information Technology, 1:31, 2009). Recently, Luck in Philosophia, 50:1287–1308, 2022 has argued that the Gamer’s Dilemma is actually an instance of a more general “paradox”, which he calls the “paradox of treating wrongdoing lightly”, and he proposes a graveness resolution to (...) this paradox. In response, we argue for four key claims. First, we accept Luck’s expansion of the Gamer’s Dilemma to be applicable to a wider set of media, but give a novel recasting of this in terms of the Paradox of Fictionally Going Too Far. Second, we develop a novel criticism of Luck in Philosophia, 50:1287–1308, 2022 graveness resolution to this broader paradox. Third, we argue that the Paradox of Fictionally Going Too Far helps to expose an implicit moralism in the Gamer’s Dilemma literature when compared to relevant nearby literatures about other forms of media. Fourth, we consider a range of non-moral, cultural and media conventions that plausibly help to dissolve the intuitive moral gap between non-sexual and sexual violence that is central to this paradox. (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

IN THIS ESSAY I PROPOSE SEVERAL SWEEPING PROPOSITIONS ABOUT INternational order: that it is structurally prior to international peace and justice and required for it; that in the anarchical society of international politics any order must be based on the principle of voluntary association and exclusion, with their attached rewards and sanctions; that such a working order has been emerging over centuries and has resulted in an undeniable growth of world peace, though without ending war; and that this emergent international (...) order is now under attack from various directions. One such attack—not the worst or most dangerous in the long run but very grave at present—is the current foreign policy of the United States, which directly denies or indirectly subverts the principles and trends that have led to the emergence of a promising international order. (shrink)

Throughout the turbulent early years of the fifteenth century, English magnates were having more than usual difficulty gaining access to, or remaining in, their own graves. Like Hitchcock's Harry, they kept being moved around. One of Henry IV's first acts upon acceding to the throne was to move Thomas, duke of Gloucester, to a better location in Westminster Abbey. After defeating Henry Hotspur at Shrewsbury, Henry IV first permitted his burial but then disinterred him and displayed his body suspended (...) between two millstones to prove he was really dead. Consumed with a sense of his own sinfulness, Henry IV eschewed the Westminster burial dictated for him by tradition and chose to lie in Canterbury instead. And of course the remains of Henry IV's victim, Richard II, lay out of place for thirteen years at Langley abbey before the new king, Henry V, arranged his reburial in his previously commissioned sepulchre in the Abbey of St. Peter, Westminster. (shrink)

Chasing the fading contours if the past. Pursuing points of intersection. Encounters with aging literary figures and surviving witnesses to history. Excavating printed artifacts in the back rooms of used book shops. Locating of equipment lost or discarded. Conversations with Paul Bowles & Mohammed Mrabet, Brion Gysin, "Pauline Réage, Robert Graves, Maurice Girodias, Berthe Cleyrergue, Edouard Roditi, Allen Ginsberg & Peter Orlovsky." --Back cover.

Descartes is widely portrayed as the arch proponent of “the epistemological transparency of thought” (or simply, “Transparency”). The most promising version of this view—Transparency-through-Introspection—says that introspecting (i.e., inwardly attending to) a thought guarantees certain knowledge of that thought. But Descartes rejects this view and provides numerous counterexamples to it. I argue that, instead, Descartes’s theory of self-knowledge is just an application of his general theory of knowledge. According to his general theory, certain knowledge is acquired only through clear and distinct (...) intellection. Thus, in his view, certain knowledge of one’s thoughts is acquired only through clear and distinct intellection of one’s thoughts. Introspection is a form of intellection and it can be clear and distinct. Ordinarily, however, introspection isn’t clear and distinct but is instead confused with dubitable perceptions of bodies. To make introspection clear and distinct, we need to “sharply separate” it from all perceptions of bodies by doubting all perceptions of bodies. Without such radical doubt, introspection remains confused and we lack certain knowledge not just of the specific features of our thoughts, but even of the minimal claim that a thought exists. Far from being the high priest of Transparency, Descartes is radically opposed to it. (shrink)

How does the complex nature of ecological systems affect ecologists' ability to study them? This Element argues that ecological systems are complex in a rather special way: they are causally heterogeneous. The author presents an updated philosophical account with an optimistic outlook of the methods and status of ecological research.

In _Matter and Consciousness_, Paul Churchland presents a concise and contemporary overview of the philosophical issues surrounding the mind and explains the main theories and philosophical positions that have been proposed to solve them. Making the case for the relevance of theoretical and experimental results in neuroscience, cognitive science, and artificial intelligence for the philosophy of mind, Churchland reviews current developments in the cognitive sciences and offers a clear and accessible account of the connections to philosophy of mind. For (...) this third edition, the text has been updated and revised throughout. The changes range from references to the iPhone's "Siri" to expanded discussions of the work of such contemporary philosophers as David Chalmers, John Searle, and Thomas Nagel. Churchland describes new research in evolution, genetics, and visual neuroscience, among other areas, arguing that the philosophical significance of these new findings lies in the support they tend to give to the reductive and eliminative versions of materialism. Matter and Consciousness, written by the most distinguished theorist and commentator in the field, offers an authoritative summary and sourcebook for issues in philosophy of mind. It is suitable for use as an introductory undergraduate text. (shrink)

The options in a decision problem generally have outcomes with common features. Putting aside the common features simplifies deliberations, but the simplification requires a philosophical justification that this book provides.

This book demonstrates how children's imagination makes a continuing contribution to their cognitive and emotional development.

The traditional philosophy of science approach to prediction leaves little room for appreciating the value and potential of imprecise predictions. At best, they are considered a stepping stone to more precise predictions, while at worst they are viewed as detracting from the scientific quality of a discipline. The aim of this paper is to show that imprecise predictions are undervalued in philosophy of science. I review the conceptions of imprecise predictions and the main criticisms levelled against them: (i) that they (...) cannot aid in model selection and improvement, and (ii) that they cannot support effective interventions in practical decision making. I will argue against both criticisms, showing that imprecise predictions have a circumscribed but important and legitimate place in the study of complex, heterogeneous systems. The argument is illustrated and supported by an example from conservation biology, where imprecise models were instrumental in saving the kōkako from extinction. (shrink)

The twentieth century has witnessed an unprecedented 'crisis in the foundations of mathematics', featuring a world-famous paradox (Russell's Paradox), a challenge to 'classical' mathematics from a world-famous mathematician (the 'mathematical intuitionism' of Brouwer), a new foundational school (Hilbert's Formalism), and the profound incompleteness results of Kurt Gödel. In the same period, the cross-fertilization of mathematics and philosophy resulted in a new sort of 'mathematical philosophy', associated most notably (but in different ways) with Bertrand Russell, W. V. Quine, and Gödel himself, (...) and which remains at the focus of Anglo-Saxon philosophical discussion. The present collection brings together in a convenient form the seminal articles in the philosophy of mathematics by these and other major thinkers. It is a substantially revised version of the edition first published in 1964 and includes a revised bibliography. The volume will be welcomed as a major work of reference at this level in the field. (shrink)

Zusammenfassungen der Referate in französischer Sprache.

An agent often does not have precise probabilities or utilities to guide resolution of a decision problem. I advance a principle of rationality for making decisions in such cases. To begin, I represent the doxastic and conative state of an agent with a set of pairs of a probability assignment and a utility assignment. Then I support a decision principle that allows any act that maximizes expected utility according to some pair of assignments in the set. Assuming that computation of (...) an option's expected utility uses comprehensive possible outcomes that include the option's risk, no consideration supports a stricter requirement. (shrink)

Schelling und Hegel benutzen in ihren philosophischen Texten mathematische und naturwissenschaftliche Modelle wie Unendlichkeit oder Gleichgewicht. Die Strukturen dieser Begriffe liefern einen Massstab fur den Vergleich der Positionen Schellings und Hegels, der fur Schellings Identitatsphilosophie und Hegels erste Jenaer Schriften durchgefuhrt wird. Als wichtigstes Resultat kann eine grundlegende Differenz zwischen beiden Positionen bereits um 1801 nachgewiesen und gezeigt werden, dass diese auf einer unterschiedlichen Auffassung der Rolle des Absoluten beruht.

Like Plato, Protagoras held that young children learn virtue from fine examples in poetry. Unlike Plato, Protagoras taught adults by correcting the diction of poets. In this paper I ask what his standard of correctness might be, and what benefit he intended his students to take from exercises in correction. If his standard of correctness is truth, then he may intend his students to learn by questioning the content of poems; that would be suggestive of Plato’s program in Republic III. (...) But his standard is more likely to be the accurate use of language; in that case he would intend his students to learn to express their thoughts clearly enough that their audience would understand what they were saying. That standard would be independent of the truth of what they are saying; and that would be a precursor to modern techniques by which we try to teach speaking and writing. Truth is not so easy to escape, however, and we shall see that Protagoras’ exercise must assume that the poet is trying to tell the truth. (shrink)

This article reviews the recent literature on idealization, specifically idealization in the course of scientific modeling. We argue that idealization is not a unified concept and that there are three different types of idealization: Galilean, minimalist, and multiple models, each with its own justification. We explore the extent to which idealization is a permanent feature of scientific representation and discuss its implications for debates about scientific realism.

Die MISCELLANEA MEDIAEVALIA präsentieren seit ihrer Gründung durch Paul Wilpert im Jahre 1962 Arbeiten des Thomas-Instituts der Universität zu Köln. Das Kernstück der Publikationsreihe bilden die Akten der im zweijährigen Rhythmus stattfindenden Kölner Mediaevistentagungen, die vor über 50 Jahren von Josef Koch, dem Gründungsdirektor des Instituts, ins Leben gerufen wurden. Der interdisziplinäre Charakter dieser Kongresse prägt auch die Tagungsakten: Die MISCELLANEA MEDIAEVALIA versammeln Beiträge aus allen mediävistischen Disziplinen - die mittelalterliche Geschichte, die Philosophie, die Theologie sowie die Kunst- und (...) Literaturwissenschaften sind Teile einer Gesamtbetrachtung des Mittelalters. (shrink)

Many phenomena in the natural world are complex, so scientists study them through simplified and idealised models. Philosophers of science have sought to explain how these models relate to the world. On most accounts, models do not represent the world directly, but through target systems. However, our knowledge of target systems is incomplete. First, what is the process by which target systems come about? Second, what types of entity are they? I argue that the basic conception of target systems, on (...) which other conceptions depend, is as parts of the world. I outline the process of target system specification and show that it is a crucial step in modelling. I also develop an account of target system evaluation, based on aptness. Paying close attention to target system specification and evaluation can help scientists minimise the frequency and extent of mistakes, when they are using models to investigate phenomena in complex real-world systems. (shrink)

For Emily Dickinson, writing often meant experimenting. She experimented with words so as to acquire new perspectives through her representations of the self and the world. It certainly looks as if each one of her most intense poems was an attempt to see how far one could go both with language and consciousness, and she accordingly knew that the general public would find her experiments unreadable. Only since 1955, when Thomas H. Johnson published the first collected edition, have we slowly (...) become aware of their own internal logic. Dickinson must be placed and understood in the context of other artistic experimenters such as Friedrich Hölderlin, Arthur Rimbaud, Paul Cézanne, and Antonin Artaud, as well as... (shrink)