We examine the question of how many Boolean algebras, distinct up to isomorphism, that are quotients of the powerset of the naturals by Borel ideals, can be proved to exist in ZFC alone. The maximum possible value is easily seen to be the cardinality of the continuum $2^{\aleph_{0}}$ ; earlier work by Ilijas Farah had shown that this was the value in models of Martin's Maximum or some similar forcing axiom, but it was open whether there could be fewer in (...) models of the Continuum Hypothesis. We develop and apply a new technique for constructing many ideals whose quotients must be nonisomorphic in any model of ZFC. The technique depends on isolating a kind of ideal, called shallow, that can be distinguished from the ideal of all finite sets even after any isomorphic embedding, and then piecing together various copies of the ideal of all finite sets using distinct shallow ideals. In this way we are able to demonstrate that there are continuum-many distinct quotients by Borel ideals, indeed by analytic P-ideals, and in fact that there is in an appropriate sense a Borel embedding of the Vitali equivalence relation into the equivalence relation of isomorphism of quotients by analytic P-ideals. We also show that there is an uncountable definable wellordered collection of Borel ideals with distinct quotients. (shrink)

We examine the question of how many Boolean algebras, distinct up to isomorphism, that are quotients of the powerset of the naturals by Borel ideals, can be proved to exist in ZFC alone. The maximum possible value is easily seen to be the cardinality of the continuum $2^{\aleph_{0}}$ ; earlier work by Ilijas Farah had shown that this was the value in models of Martin's Maximum or some similar forcing axiom, but it was open whether there could be fewer in (...) models of the Continuum Hypothesis. We develop and apply a new technique for constructing many ideals whose quotients must be nonisomorphic in any model of ZFC. The technique depends on isolating a kind of ideal, called shallow, that can be distinguished from the ideal of all finite sets even after any isomorphic embedding, and then piecing together various copies of the ideal of all finite sets using distinct shallow ideals. In this way we are able to demonstrate that there are continuum-many distinct quotients by Borel ideals, indeed by analytic P-ideals, and in fact that there is in an appropriate sense a Borel embedding of the Vitali equivalence relation into the equivalence relation of isomorphism of quotients by analytic P-ideals. We also show that there is an uncountable definable wellordered collection of Borel ideals with distinct quotients. (shrink)

This paper examines the role that linguistic and cognitive prominence play in the resolution of anaphor–antecedent relationships. In two experiments, we found that pronouns are immediately sensitive to the cognitive prominence of potential antecedents when other antecedent selection cues are uninformative. In experiment 1, results suggest that despite their theoretical dissimilarities, topic and contrastive focus both serve to enhance cognitive prominence. Results from experiment 2 suggest that the contrastive prosody appropriate for focus constructions may also play an important role in (...) enhancing cognitive prominence. Thus different types of linguistic prominence (topic, contrastive focus) appear to have the common effect of increasing the cognitive prominence of the discourse referent. For pronouns with two possible antecedents, the cognitive prominence of an antecedent aids in anaphor resolution, immediately biasing selection towards the more prominent (and ultimately preferred) antecedent. (shrink)

Abduction is or subsumes a process of inference. It entertains possible hypotheses and it chooses hypotheses for further scrutiny. There is a large literature on various aspects of non-symbolic, subconscious abduction. There is also a very active research community working on the symbolic (logical) characterisation of abduction, which typically treats it as a form of hypothetico-deductive reasoning. In this paper we start to bridge the gap between the symbolic and sub-symbolic approaches to abduction. We are interested in benefiting from developments (...) made by each community. In particular, we are interested in the ability of non-symbolic systems (neural networks) to learn from experience using efficient algorithms and to perform massively parallel computations of alternative abductive explanations. At the same time, we would like to benefit from the rigour and semantic clarity of symbolic logic. We present two approaches to dealing with abduction in neural networks. One of them uses Connectionist Modal Logic and a translation of Horn clauses into modal clauses to come up with a neural network ensemble that computes abductive explanations in a top-down fashion. The other combines neural-symbolic systems and abductive logic programming and proposes a neural architecture which performs a more systematic, bottom-up computation of alternative abductive explanations. Both approaches employ standard neural network architectures which are already known to be highly effective in practical learning applications. Differently from previous work in the area, our aim is to promote the integration of reasoning and learning in a way that the neural network provides the machinery for cognitive computation, inductive learning and hypothetical reasoning, while logic provides the rigour and explanation capability to the systems, facilitating the interaction with the outside world. Although it is left as future work to determine whether the structure of one of the proposed approaches is more amenable to learning than the other, we hope to have contributed to the development of the area by approaching it from the perspective of symbolic and sub-symbolic integration. (shrink)

© Ginn et al. 2016.The indexing methods currently used for serial femtosecond crystallography were originally developed for experiments in which crystals are rotated in the X-ray beam, providing significant three-dimensional information. On the other hand, shots from both X-ray free-electron lasers and serial synchrotron crystallography experiments are still images, in which the few three-dimensional data available arise only from the curvature of the Ewald sphere. Traditional synchrotron crystallography methods are thus less well suited to still image data processing. Here, a (...) new indexing method is presented with the aim of maximizing information use from a still image given the known unit-cell dimensions and space group. Efficacy for cubic, hexagonal and orthorhombic space groups is shown, and for those showing some evidence of diffraction the indexing rate ranged from 90% to 151%. Here, the indexing rate refers to the number of lattices indexed per image. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

In his book, Physical Relativity, Harvey Brown challenges the orthodox view that special relativity is preferable to those parts of Lorentz's classical ether theory it replaced because it revealed various phenomena that were given a dynamical explanation in Lorentz's theory to be purely kinematical. I want to defend this orthodoxy. The phenomena most commonly discussed in this context in the philosophical literature are length contraction and time dilation. I consider three other phenomena of this kind that played a role in (...) the early reception of special relativity in the physics literature: the Fresnel drag effect in the Fizeau experiment, the velocity dependence of electron mass in beta-ray deflection experiments by Kaufmann and others, and the delicately balanced torques on a moving charged capacitor in the Trouton-Noble experiment. I offer historical sketches of how Lorentz's dynamical explanations of these phenomena came to be replaced by their now standard kinematical explanations. I then take up the philosophical challenge posed by the work of Harvey Brown and Oliver Pooley and clarify how those kinematical explanations work. (shrink)

Examining one of the fundamental issues in cognitive psychology: How does our conscious experience come to be the way it is?

Semantic Structures is a large-scale study of conceptual structure and its lexical and syntactic expression in English that builds on the theory of Conceptual...

This book emphasizes the role of semantics as a bridge between the theory of language and the theories of other cognitive capacities such as visual perception...

In his book, Physical Relativity, Harvey Brown challenges the orthodox view that special relativity is preferable to those parts of Lorentz's classical ether theory it replaced because it revealed various phenomena that were given a dynamical explanation in Lorentz's theory to be purely kinematical. I want to defend this orthodoxy. The phenomena most commonly discussed in this context in the philosophical literature are length contraction and time dilation. I consider three other phenomena of this kind that played a role in (...) the early reception of special relativity in the physics literature: the Fresnel drag effect in the Fizeau experiment, the velocity dependence of electron mass in beta-ray deflection experiments by Kaufmann and others, and the delicately balanced torques on a moving charged capacitor in the Trouton-Noble experiment. I offer historical sketches of how Lorentz's dynamical explanations of these phenomena came to be replaced by their now standard kinematical explanations. I then take up the philosophical challenge posed by the work of Harvey Brown and Oliver Pooley and clarify how those kinematical explanations work. (shrink)

Propositions are the things we believe, intend, desire, and so on, but discussions are often less precise than they could be and an important driver of this deficiency has been a focus on the objects but a neglect of the attitudinal relations we bear to them. In what follows, we will offer some thoughts on what it means for a proposition to be the object of an attitude and we will argue that an important part of the story lies with (...) the attitude relations rather than the propositions. As we will see there are infinitely many relations we might bear to a proposition, but the propositional attitude relations are special amongst them. Accounting for what makes them special will be an important component in the discussion that follows. We will argue that once one appreciates certain facts about propositional attitude relations, various claims that metaphysicians often make regarding propositions themselves begin to look undermotivated. In fact, many views on the metaphysical nature of propositions come to look like plausible candidates for being that to which our propositional attitudes relate us. As will emerge, we will see that the principle role of propositions in the theory of mind is simply to keep track of how our attitudinal states represent things as being. But, we argue, in order to do this work, very few constraints must be placed on the nature of propositions themselves. In particular, contra much of the recent work on the metaphysics of propositions, they need not represent nor must they be structured. In light of these observations, we conclude by sketching our own favored minimalist view of propositions. (shrink)

Wittgenstein’s use of the word ‘phenomenology’ to describe his own work in Philosophical Remarks and The Big Typescript has occasioned much puzzlement and confusion. This paper seeks to shed light on what Wittgenstein meant by the word through a close analysis of key passages in those two works. I argue against both the view of Nicholas Gier that Wittgenstein held ‘grammatical’ phenomenological remarks to be synthetic a priori and that expressed by Moritz Schlick that Wittgenstein held grammar to be tautological. (...) I also take issue with the claim by Merrill and Jaakko Hintikka that Tractatus Logico-Philosophicus ought to be regarded as a work of phenomenology. Wittgenstein’s adoption of a variant of Husserlian phenomenology, I argue, lasted no more than a few months, from February to October 1929, during which he conceived of phenomenology as something that sought to establish what one might call ‘analytic a posteriori’ truths through something like the Husserlian method of ‘bracketing’. By the end of 1929, I claim, he had abandoned that in favour of the view expressed in the slogan ‘phenomenology is grammar’, where ‘grammar’ is not confined to the tautological, but is rather intimately linked to Wittgenstein’s notion of ‘the understanding that consists in seeing connections’. (shrink)

We examine the question of which aspects of language are uniquely human and uniquely linguistic in light of recent suggestions by Hauser, Chomsky, and Fitch that the only such aspect is syntactic recursion, the rest of language being either specific to humans but not to language (e.g. words and concepts) or not specific to humans (e.g. speech perception). We find the hypothesis problematic. It ignores the many aspects of grammar that are not recursive, such as phonology, morphology, case, agreement, and (...) many properties of words. It is inconsistent with the anatomy and neural control of the human vocal tract. And it is weakened by experiments suggesting that speech perception cannot be reduced to primate audition, that word learning cannot be reduced to fact learning, and that at least one gene involved in speech and language was evolutionarily selected in the human lineage but is not specific to recursion. The recursion-only claim, we suggest, is motivated by Chomsky’s recent approach to syntax, the Minimalist Program, which de-emphasizes the same aspects of language. The approach, however, is sufficiently problematic that it cannot be used to support claims about evolution. We contest related arguments that language is not an adaptation, namely that it is “perfect,” non-redundant, unusable in any partial form, and badly designed for.. (shrink)

The science of linguistics is made accessible by the author of Consciousness and the Computational Mind, who demonstrates evidence for an innate Universal Grammar that provides the building blocks for all human languages.

A short book combining extracts from the work of one of the world's greatest thinkers with commentary from one of Britain's most distinguished writers on philosophy.

Der Artikel spürt den subtilen Veränderungen nach, die bei Patienten, die mit tiefer Hirnstimulation behandelt werden, möglicherweise beobachtet werden können. Dabei sollen im Rückgriff auf Konzeptionen zur narrativen Identität mittels einer möglichst genauen Beschreibung und Analyse der Selbstwahrnehmung der Patienten sowie der Wahrnehmung ihres Umfelds die Änderungen im praktischen Selbstverhältnis untersucht werden, u. a. am Beispiel technomorpher Metaphern, die von den Patienten in ihren Selbstbeschreibungen verwendet werden. Ziel ist es, die Neuartigkeit und das Spezifische der Neurotechnologien – über die bisherigen (...) Untersuchungen hinaus – hinsichtlich des Umgangs mit sich selbst herauszuarbeiten und greifbar zu machen. Abschließend werden auf Basis der Analyse der Patienten-Narrationen die entsprechenden normativen Implikationen für eine ethische Bewertung des Einsatzes von Neurotechnologien benannt. (shrink)

There are strong indications that many consumers are switching towards more socially and environmentally responsible products and services, reflecting a shift in consumer values indicated in several countries. However, little is known about the motives that drive some toward, or deter others from, higher levels of ethical concern and action in their purchasing decisions. Following a qualitative investigation using ZMET and focus group discussions, a questionnaire was developed and administered to a representative sample of consumers; nearly 1,000 usable questionnaires were (...) collected. The degree of awareness, concern and action regarding 16 ethical issues was quantified, using a measure developed from the Stages of Change concept within the Transtheoretical model. Motivations for ethical behaviour, in relation to each individual’s most salient ethical issue, were investigated using initially 22 motive statements within the framework of the Decisional Balance Scale (DBS). The findings suggest that the DBS and Stages model have an explanatory value within the ethical decision-making context, and that the motives identified do reflect the Decisional Balance Constructs. Indeed the study suggests that respondents’ motivational attitudes are a function of their stage of ethical awareness, concern and action. Therefore, the Decisional Balance Scale may well prove useful for designing appropriate interventions and communications to facilitate movement towards more ethical decision-making. These findings yield strategic insight for communicating messages to ethical consumers and for better understanding their purchasing decisions. (shrink)

Logic, science and business -- Clearing up philosophy in three words -- Picturing the world -- What is a proposition? -- What is philosophy? -- The disintegration of logical form -- The new philosophy : giving up the crystalline purity of logic -- Language games -- Can there be a private language? -- Reading Wittgenstein in the right spirit -- Understanding others, understanding ourselves : imponderable evidence.

Der Artikel spürt den subtilen Veränderungen nach, die bei Patienten, die mit tiefer Hirnstimulation behandelt werden, möglicherweise beobachtet werden können. Dabei sollen im Rückgriff auf Konzeptionen zur narrativen Identität mittels einer möglichst genauen Beschreibung und Analyse der Selbstwahrnehmung der Patienten sowie der Wahrnehmung ihres Umfelds die Änderungen im praktischen Selbstverhältnis untersucht werden, u. a. am Beispiel technomorpher Metaphern, die von den Patienten in ihren Selbstbeschreibungen verwendet werden. Ziel ist es, die Neuartigkeit und das Spezifische der Neurotechnologien – über die bisherigen (...) Untersuchungen hinaus – hinsichtlich des Umgangs mit sich selbst herauszuarbeiten und greifbar zu machen. Abschließend werden auf Basis der Analyse der Patienten-Narrationen die entsprechenden normativen Implikationen für eine ethische Bewertung des Einsatzes von Neurotechnologien benannt. (shrink)

A profoundly arresting integration of the faculties of the mind - of how we think, speak, and see the world. Written with an informality that belies the originality of its insights and the radical nature of its conclusions, this is the author's most important book since his groundbreaking Foundations of Language in 2002.

In a continuation of the conversation with Fitch, Chomsky, and Hauser on the evolution of language, we examine their defense of the claim that the uniquely human, language-specific part of the language faculty (the “narrow language faculty”) consists only of recursion, and that this part cannot be considered an adaptation to communication. We argue that their characterization of the narrow language faculty is problematic for many reasons, including its dichotomization of cognitive capacities into those that are utterly unique and those (...) that are identical to nonlinguistic or nonhuman capacities, omitting capacities that may have been substantially modified during human evolution. We also question their dichotomy of the current utility versus original function of a trait, which omits traits that are adaptations for current use, and their dichotomy of humans and animals, which conflates similarity due to common function and similarity due to inheritance from a recent common ancestor. We show that recursion, though absent from other animals’ communications systems, is found in visual cognition, hence cannot be the sole evolutionary development that granted language to humans. Finally, we note that despite Fitch et al.’s denial, their view of language evolution is tied to Chomsky’s conception of language itself, which identifies combinatorial productivity with a core of “narrow syntax.” An alternative conception, in which combinatoriality is spread across words and constructions, has both empirical advantages and greater evolutionary plausibility. q 2005 Elsevier B.V. All rights reserved. (shrink)

In 2012, a new and promising gene manipulation technique, CRISPR-Cas9, was announced that seems likely to be a foundational technique in health care and agriculture. However, patents have been granted. As with other technological developments, there are concerns of social justice regarding inequalities in access. Given the technologies’ “foundational” nature and societal impact, it is vital for such concerns to be translated into workable recommendations for policymakers and legislators. Colin Farrelly has proposed a moral justification for the use of patents (...) to speed up the arrival of technology by encouraging innovation and investment. While sympathetic to his argument, this article highlights a number of problems. By examining the role of patents in CRISPR and in two previous foundational technologies, we make some recommendations for realistic and workable guidelines for patenting and licensing. (shrink)

A profoundly arresting integration of the faculties of the mind - of how we think, speak, and see the world. Written with an informality that belies the originality of its insights and the radical nature of its conclusions this is the author's most important book since his groundbreaking Foundations of Language in 2002.

Pharmaceutical industry funding has transformed much grassroots community activism on health into corporate-sponsored advocacy. This critical commentary outlines recent evidence about industry funding of patient advocacy groups, offers a commentary on the history of grassroots activism appearing in this issue of the journal, and calls for greater scrutiny of the impacts and ethics of such sponsorship.

Ontologies, as the term is used in informatics, are structured vocabularies comprised of human- and computer-interpretable terms and relations that represent entities and relationships. Within informatics fields, ontologies play an important role in knowledge and data standardization, representation, integra- tion, sharing and analysis. They have also become a foundation of artificial intelligence (AI) research. In what follows, we outline the Coronavirus Infectious Disease Ontology (CIDO), which covers multiple areas in the domain of coronavirus diseases, including etiology, transmission, epidemiology, pathogenesis, diagnosis, (...) prevention, and treatment. We emphasize CIDO development relevant to COVID-19. (shrink)

Although the biological bases of forgetting remain obscure, the consensus among cognitive psychologists emphasizes interference processes, rejecting decay in accounting for memory loss. In contrast to this view, recent advances in understanding the neurobiology of long-term memory maintenance lead us to propose that a brain-wide well-regulated decay process, occurring mostly during sleep, systematically removes selected memories. Down-regulation of this decay process can increase the life expectancy of a memory and may eventually prevent its loss. Memory interference usually occurs during certain (...) active processing phases, such as encoding and retrieval, and will be stronger in brain areas with minimal sensory integration and less pattern separation. In areas with efficient pattern separation, such as the hippocampus, interference-driven forgetting will be minimal, and, consequently, decay will cause most forgetting. (shrink)

Article history: This article sketches the Parallel Architecture, an approach to the structure of grammar that Accepted 29 August 2006 contrasts with mainstream generative grammar (MGG) in that (a) it treats phonology, Available online 13 October 2006 syntax, and semantics as independent generative components whose structures are linked by interface rules; (b) it uses a parallel constraint-based formalism that is nondirectional; (c) Keywords: it treats words and rules alike as pieces of linguistic structure stored in long-term memory.

Ludwig Wittgenstein was born on 26 April 1889, the eighth and youngest child of one of the wealthiest and most remarkable families of Habsburg Vienna. Though Karl Wittgenstein was brought up in the Protestant faith, and though, by the time Ludwig was born, the family had long ceased to identify themselves as members of the Jewish community, the family was originally Jewish. The founder of the family fortunes was Moses Maier, Karl's grandfather and Ludwig's great‐grandfather, who was a land agent (...) for the aristocratic Wittgenstein family. After the Napoleonic decree of 1808, which demanded that Jews adopt a surname, Moses Maier took the name of his employer. Wittgenstein may well have been led to read Hertz by reading Boltzmann's Populare Schriften, a collection of his more popular lectures that was published in 1905. From 1926 to 1928 Wittgenstein lived in Vienna and worked, astonishingly, as an architect. (shrink)

In addition to providing an account of the empirical facts of language, a theory that aspires to account for language as a biologically based human faculty should seek a graceful integration of linguistic phenomena with what is known about other human cognitive capacities and about the character of brain computation. The present article compares the theoretical stance of biolinguistics (Chomsky 2005, Di Sciullo and Boeckx 2011) with a constraint-based Parallel Architecture approach to the language faculty (Jackendoff 2002, Culicover and Jackendoff (...) 2005). The issues considered include the necessity of redundancy in the lexicon and the rule system, the ubiquity of recursion in cognition, derivational vs. constraint-based formalisms, the relation between lexical items and grammatical rules, the roles of phonology and semantics in the grammar, the combinatorial character of thought in humans and nonhumans, the interfaces between language, thought, and vision, and the possible course of evolution of the language faculty. In each of these areas, the Parallel Architecture offers a superior account both of linguistic facts and of the relation of language to the rest of the mind/brain. (shrink)

Whether Kant’s late legal theory and his theory of race are contradictory in their account of colonialism has been a much-debated question that is also of highest importance for the evaluation of the Enlightenment’s contribution to Europe’s colonial expansion and the dispossession and enslavement of native and black peoples. This article discusses the problem by introducing the discourse on barbarism. This neglected discourse is the original and traditional European colonial vocabulary and served the justification of colonialism from ancient Greece throughout (...) the Renaissance to the eighteenth century. Kant’s explicit rejection of this discourse and its prejudices reveals his early critical stance toward colonial judgements of native peoples even before he developed his legal theory. This development of his critical position can be traced in his writings on race: although he makes racist statements in these texts, his theory of race is not meant to ground moral judgements on ‘races’ or a racial hierarchy but to defend the unity of mankind under the given empirical reality of colonial hierarchies. (shrink)

Metaphor influences the construction of biological models and theories and the analysis of its use can reveal important tools of thought. Some aspects of biological organisation are investigated through the analysis of metaphors associated with treating biosystems as a kind of text. In particular, the use of glue and verbs is considered. Some of the reasons why glue is important in the construction of hierarchies are pursued in the light of specific examples, and some of the conceptual links between glue (...) in biology and other domains is discussed. Verbs are shown to be important in the construction of networks. Some of the relations between glue, verb and text are considered and the text metaphor is placed within a much broader context of ideas associated with form, relation and system. The paper concludes with comments on the nature of biological information and the need for extending or better understanding the verbal vocabulary. (shrink)

The goal of this study is to reintegrate the theory of generative grammar into the cognitive sciences. Generative grammar was right to focus on the child's acquisition of language as its central problem, leading to the hypothesis of an innate Universal Grammar. However, generative grammar was mistaken in assuming that the syntactic component is the sole course of combinatoriality, and that everything else is “interpretive.” The proper approach is a parallel architecture, in which phonology, syntax, and semantics are autonomous generative (...) systems linked by interface components. The parallel architecture leads to an integration within linguistics, and to a far better integration with the rest of cognitive neuroscience. It fits naturally into the larger architecture of the mind/brain and permits a properly mentalistic theory of semantics. It results in a view of linguistic performance in which the rules of grammar are directly involved in processing. Finally, it leads to a natural account of the incremental evolution of the language capacity. Key Words: evolution of language; generative grammar; parallel architecture; semantics; syntax. (shrink)

In the growing body of academic literature on biography that has developed in the last few decades, Virginia Woolf's essay, "The New Biography,"1 has come to occupy a central place—mentioned, discussed and quoted from, I would estimate, more often than any other piece of writing on the subject. Virginia Woolf's distinctive view of the nature and limitations of biography has thus had, and continues to have, a deep and wide-ranging influence on the way the genre is discussed by critics and (...) theorists. My aim in this essay is to present a detailed analysis of Virginia Woolf's thinking about biography in order to make clear why I believe its influence on contemporary theorising about biography is, on the whole, a misfortune. As is often pointed out, Virginia Woolf's views on biography are closely connected with—indeed, to an extent that I hope to make clear, they are simply an application of—her views on fiction. In the light of this, I have tried to trace some of the most striking features of her thinking about biography back to her earlier thoughts on fiction, as presented in both her novels and her essays. The result, I hope, will be that, while the attractions of her way of looking at fiction and biography are recognised and revealed, the manifest flaws in her thinking on these subjects are clearly exposed. (shrink)