When someone masters a skill, their performance looks to us like second nature: it looks as if their actions are smoothly performed without explicit, knowledge-driven, online monitoring of their performance. Contemporary computational models in motor control theory, however, are instructionist: that is, they cast skillful performance as a knowledge-driven process. Optimal motor control theory, as representative par excellence of such approaches, casts skillful performance as an instruction, instantiated in the brain, that needs to be executed—a motor command. This paper aims (...) to show the limitations of such instructionist approaches to skillful performance. We specifically address the question of whether the assumption of control-theoretic models is warranted. The first section of this paper examines the instructionist assumption, according to which skillful performance consists of the execution of theoretical instructions harnessed in motor representations. The second and third sections characterize the implementation of motor representations as motor commands, with a special focus on formulations from OMCT. The final sections of this paper examine predictive coding and active inference—behavioral modeling frameworks that descend, but are distinct, from OMCT—and argue that the instructionist, control-theoretic assumptions are ill-motivated in light of new developments in active inference. (shrink)

Every living science, especially in its early stages, is compelled to devise fresh terms, either by coining new words or by giving new meanings to old ones. Unless and until these fresh terms become absorbed in the vocabulary of everyday speech, their unfamiliarity makes them a target for the shafts of the humourist. There can be no doubt that in the late fifth century B.C. literary criticism was still a new science. We can trace its beginnings in the treatises of (...) the Sophists, many titles of which have been handed down to us. Strepsiades' lesson in metric, though of itself amusing enough, would certainly gain in topical appropriateness if enacted at a time when such investigations were not only much in the air, but were still novel. And the whole ‘Agon’ of the Frogs, the character of which is forecasted in lines 796–802, depicts in the strongest colours the contrasted views of technician and inspirationist. We should therefore naturally expect a play of such a kind, written at such a time, to be full of technical jargon, barely understood by the ‘man in the street,’ and forming the object of his half-contemptuous amusement. That is, I believe, exactly what we do find, to an extent insufficiently recognized. Professor Radermacher, in his recent edition of the Frogs, has rendered valuable service by pointing out the frequent occurrence in that play of technical terms which meet us later in Dionysius of Halicarnassus and other critics. But I believe that technical language lurks unsuspected in many other passages, though the precise meaning may often be beyond recovery. (shrink)

We are printing in its entirety the discussion document which sets out a code of professional conduct for nurses published by the Royal College of Nursing in November 1976 together with commentaries by the Assistant Secretary of the British Medical Association, a professor of nursing studies, student nurses and a lawyer. The image of the nurse is still that of one of Florence Nightingale's young ladies or of a member of a religious order who is wholly dedicated to caring for (...) the sick. Today, as this document and the comments upon it show, 'dedication' is still part of the motive which leads a man or woman to become a nurse but in addition, and this is where the public may be ignorant or choose to be ignorant, nursing offers a career where intellectual achievement and the satisfaction of a demanding job bring their proper financial reward and place in the professional community. We are grateful to the Royal College of Nursing for permission to publish this document. (shrink)

In Vol. XXIIL, pp. 105–8, Mr. Lockwood criticizes some of the observations which I made in pp. 7–10 of the same volume. § 271. I ‘assume’ that τοτ' δετι δεινότητα explains ύπόκρισιν κα γνα and not τ διαλελυμένον, because ‘figures of speech in general’ cannot be said to ‘produce’ τ διαλελυμένον asyndeton, which is itself one of those figures; because, conversely, τ διαλελυμένον is not equivalent to δεινότης but a means of producing δεινότης. τ διαλελυμένον must, therefore, be nominative, not (...) accusative, and Professor Rhys Roberts' rendering, ‘lending especially the effect of abruptness, in other words of energy,’ cannot be right. The Professor himself is not happy with it, and adds in a note that ‘a better sense would be obtained by placing μάλιστα τ διαλελυμένον before πόκρισιν, i.e. “the figures of speech, and especially asyndeton.”‘ My excision gives the same sense. Orth, in his translation, omits the words τοτ' στι δεινότητα, and interprets as I do. (shrink)

In the tragic senarius the divisions of the sense normally coincide with the main divisions of the metrical structure. Punctuation is most frequently found at the end of the line, or at the penthemimeral or hephthemimeral caesura. There are few traces of any desire to produce a persistent clash between verse structure and sentence structure. Thus at Med. 446–50 and 709–13 five consecutive lines, at Med. 364–71 eight consecutive lines, are more or less self-contained in sense. But this principle, while (...) valid in some degree for all three tragedians, is not equally valid for all. Sophocles, as is well known, is far suppler in his iambic technique than Aeschylus and Euripides, and far more prone to write sentences which over-run the main metrical divisions. (shrink)

1. Introduction. Sources of difficulty in the investigation.–II. Dr. Monro′s pitch theory. The passage in Heraclides. Supplementary evidence from the Problems.–III. Prof. Macran′s theory. Evidence against this theory. Prof. Macran′s answer to this evidence. Further objections. Criticism of the evidence in favour of Prof. Macran′s theory.–IV. Prof. Cook-Wilson′s theory. Platonic and Aristotelian evidence against Dr. Monro. Objections to this theory.–V. Recapitulation. Statement of the antinomies in the evidence.–VI. Conclusion. The nucleus of certainty. The Greek, as contrasted with the modern, musical (...) sense. (shrink)