This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Of all Wagner's operas, the Tetralogy has a special status. Indeed, beyond the myth related by the plot, the four operas it comprises also contain the presentation of a myth of the origin of music and the total work of art. The latter is based on an androgynous myth uniting poetry and music, seen respectively as the incarnation of male and female principles, symbolized by the different characters – Siegfried, Brünnhilde, Fafner, Mime – who are all tied up with (...) androgyny. The theme appears both in Wagner's theoretical writing penned around 1850 and between the lines of the libretto of the Ring, which concludes with the impossible reunification of the sexes on the Platonic model. Nevertheless, even if biological androgyny belongs to the world of utopia, the creative artist does have the opportunity to bring together the opera's two sexualized components, music and poetry, and thus produce the total work of art that Wagner aspired to. (shrink)

In his essay “La judéité dans la musique,” Richard Wagner’s horrid portrayal of a Jew by way of physical, economical, linguistic and musical description exposed his anti-Semitic convictions. Much of this aspect has either been forgotten or softened, however, when evoking Wagner, it is in fact the relationship between his anti-Semitism and his work that is the most problematic. This paper proposes to consider three symbolic forms through which this reticence is expressed by looking at the the theoretical (...) writings, opera booklets and their music. Using the Beckmesser character in Les Maîtres Chanteurs de Nuremberg, although Beckmesser is not introduced as a Jew but rather a good German bourgeois, one cannot deny the allegory positioning him as a Jew. First element of demonstration: the analogical resemblance between Beckmesser and the Viennese music critic Eduard Hanslick to whom Wagner accused of hiding his Jewishness. Second element: it has already been proven that Beckmesser’s serenade sung during the second act to the Master Singers was a mockery of a Jewish prayer. Third element: in Cosima’s, Wagner’s wife, diary she explains that this particular piece generated at that time a strong reaction by the Jewish community in Vienna, thus supporting the claim that his antisemitism was already known and problematic to his contemporaries. (shrink)

S(zp,zp) performs an innovative analysis of one of modern logic's most celebrated cornerstones: the proof of Gödel's first incompleteness theorem. The book applies the semiotic theories of French post- structuralists such as Julia Kristeva, Jacques Derrida and Gilles Deleuze to shed new light on a fundamental question: how do mathematical signs produce meaning and make sense? S(zp,zp) analyses the text of the proof of Gödel's result, and shows that mathematical language, like other forms of language, enjoys the full complexity (...) of language as a process, with its embodied genesis, constitutive paradoxical forces and unbounded shifts of meaning. These effects do not infringe on the logico-mathematical validity of Gödel's proof. Rather, they belong to a mathematical unconscious that enables the successful function of mathematical texts for a variety of different readers. S(zp,zp) breaks new ground by synthesising mathematical logic and post-structural semiotics into a new form of philosophical fabric, and offers an original way of bridging the gap between the "two cultures". (shrink)

The dawn of music semiology showcases the work of ten leading musicologists inspired by the work of Jean-Jacques Nattiez. Reflecting the energy and diversity of the young field of music semiology, chapters in this volume discuss music and gesture, the psychology of music, and the role of ethnotheory, and offer new research on topics as diverse as modeling folk polyphony, spatialization in the Darmstadt repertoire, Schenker's theory of musical content, and modernism from Wagner to Boulez.

Le temps réel nous afflige, inaugurant traumatiquement le tragique de la perte irréversible de la présence. La philosophie, jusqu'à J. Derrida inclus, en a su quelque chose, mais a occulté ce savoir en remettant dans le sujet, comme intentionnalité et auto-affection, ce qui vient du dehors l'arracher à lui-même. Freud en a su quelque chose, mais a relégué ce savoir dans la sphère des pensées privées, se laissant par ailleurs fasciner par la monstrueuse et merveilleuse atemporalité que lui présentait son (...) objet, l'inconscient. Ce que Lacan a confirmé, l'identifiant à la structure du signifiant. Sa pratique clinique lui a pourtant aussi inspiré, à de rares mais précieux moments, une écoute psychanalytique du temps sur laquelle on a ici mis l'accent. Restait alors à marquer la juste place de la préoccupation ontologique dans un champ psychique commandé d'abord par la pulsion et le narcissisme. Pulsion, narcissisme, souci de l'être et du néant : c'est ce nœud qui fait sens, ce que confortent deux études cliniques : celle de la mise en œuvre du temps continu androgynique chez Wagner, et celle de la philosophie du devenir créateur chez Nietzsche. (shrink)

"Monteverdi et Wagner : hiatus, mariage impossible, défiance à l’entendement. Le mélomane proteste. Mais le parallèle n’est pas inédit. Car mettre en relation Monteverdi et Wagner, qu’a priori tout oppose, permet de lever le voile sur l’essentiel. À deux siècles d’intervalle, les changements de paradigme opérés par les deux artistes ont un terreau commun. Au-delà des analogies formelles, les attaques portées aux deux compositeurs et leurs répliques sous forme d’écrits théoriques mettent en évidence un monde d’idées. Nietzsche commença (...) sa carrière philosophique en le soulignant. À travers Ficin et Politien pour Monteverdi – Hölderlin, Schelling et Novalis pour Wagner –, les racines néoplatoniciennes communes aux deux créateurs constituent une autre correspondance révélatrice. On les retrouve au seuil du baroque comme du symbolisme. Venise, Pétrarque et Le Tasse ne laissent pas de réunir Monteverdi et Wagner, tandis qu’Orphée et Tristan offrent au chercheur une série d’analogies frappantes. Alors pourquoi ce rapprochement a-t-il été si peu approfondi? Certes, la dénonciation des frontières interdisciplinaires propres au système académique n’est pas nouvelle. Mais faut-il rester muet devant leur persistance? Il existe aujourd’hui toute une philosophie de la musique, ou précisément de la musique instrumentale. Mais où est la philosophie de l’opéra? Après avoir évoqué les apports lumineux de Romain Rolland et de Jean-Jacques Nattiez à la musicologie, Olivier Lexa établit un bref historique de la philosophie de l’opéra, de Rousseau à Nietzsche en passant par Hegel, Novalis, Schopenhauer et Kierkegaard. Par la suite, l’auteur aborde la portée exemplaire de l’histoire de l’art, de l’histoire culturelle et de l’esthétique analytique, avant de se pencher sur les relations que plusieurs grands penseurs récents et contemporains ont entretenues avec l’art lyrique : Adorno, Lévi-Strauss, Barthes, Deleuze, Foucault, Bourdieu, Badiou, Lacoue-Labarthe et Žižek. Sera-t-on surpris de retrouver les noms de Monteverdi et Wagner parmi les récurrences dominantes?" -- Site internet de l'éditeur. (shrink)

Prodigiously influential, Jacques Derrida gave rise to a comprehensive rethinking of the basic concepts and categories of Western philosophy in the latter part of the twentieth century, with writings central to our understanding of language, meaning, identity, ethics and values. In 1993, a conference was organized around the question, 'Whither Marxism?’, and Derrida was invited to open the proceedings. His plenary address, 'Specters of Marx', delivered in two parts, forms the basis of this book. Hotly debated when it was (...) first published, a rapidly changing world and world politics have scarcely dented the relevance of this book. (shrink)

____Specters of Marx__ is a major new book from the renowned French philosopher Jacques Derrida. It represents his first important statement on Marx and his definitive entry into social and political philosophy. "Specter" is the first noun one reads in _The Manifesto of_ _the Communist Party._ But that's just the beginning. Once you start to notice them, there is no counting all the ghosts, spirits, specters and spooks that crowd Marx's text. If they are to count for something, however, (...) one must question the spectropoetics that Marx allowed to invade his discourse. In ____Specters of Marx,__ Derrida undertakes this task within the context of a critique of the new dogmatism and "new world order" that have proclaimed the death of Marxism and of Marx. (shrink)

An introduction to Derrida's contribution to literary studies, comprising much of Derrida's work on writers such as Shakespeare, Mallarme, Joyce and Kafka, with an introductory essay on deconstruction.

Naturalism - the thesis that all facts are natural facts, that is the facts that can be recognised and explained by a natural science - plays a central role in contemporary analytical philosophy. Yet many philosophers reject the claims of naturalism. The essays in this anthology explore the difficulties of naturalism by revealing the ambiguities surrounding it, as well as the tensions that exist among its critics.

Stel dat een inbreker bij jou thuis alleen de lijsten van de kunstwerken zou wegnemen, en niet de werken zelf. Wat zou er veranderen in je omgang met de kunst? Met dat gedachte-experiment opent de Franse filosoof Jacques Derrida het essay Parergon. Parergon betekent bijzaak in het Grieks. Zoals bijvoorbeeld de lijst van het schilderij, of het kader van een opgehangen foto. Ze behoren niet tot het kunstwerk. En toch zijn ze van groot belang voor hoe het werk bekeken (...) wordt. De belangwekkende tekst van Derrida uit 1974 geeft een centrale rol aan de bijzaak van het kader. Met filosofische acrobatie maneuvreert de denker tussen de grote klassiekers van de kunstfilosofie: Plato, Kant, Hegel en Heidegger. Hij gaat op een speelse manier met hun erfenis om. Woorden worden omgedraaid. Passages die op het eerste gezicht bijzaak lijken, maakt hij tot hoofdrolspelers van zijn betoog. Dit boek presenteert Derridas belangrijkste tekst over beeldende kunst voor de eerste keer in Nederlandse vertaling. Het boek is vormgegeven door de spraakmakende ontwerpster Ines Cox. Vertaler Ben Overlaet schreef een nawoord dat de tekst van de nodige filosofische en historische context voorziet. (shrink)

Derrida's first book-length work, The Problem of Genesis in Husserl's Philosophy , was originally written as a dissertation for his diplôme d'etudes superieures in 1953 and 1954. Surveying Husserl's major works on phenomenology, Derrida reveals what he sees as an internal tension in Husserl's central notion of genesis, and gives us our first glimpse into the concerns and frustrations that would later lead Derrida to abandon phenomenology and develop his now famous method of deconstruction. For Derrida, the problem of genesis (...) in Husserl's philosophy is that both temporality and meaning must be generated by prior acts of the transcendental subject, but transcendental subjectivity must itself be constituted by an act of genesis. Hence, the notion of genesis in the phenomenological sense underlies both temporality and atemporality, history and philosophy, resulting in a tension that Derrida sees as ultimately unresolvable yet central to the practice of phenomenology. Ten years later, Derrida moved away from phenomenology entirely, arguing in his introduction to Husserl's posthumously published Origin of Geometry and his own Speech and Phenomena that the phenomenological project has neither resolved this tension nor expressly worked with it. The Problem of Genesis complements these other works, showing the development of Derrida's approach to phenomenology as well as documenting the state of phenomenological thought in France during a particularly fertile period, when Levinas, Sartre, Merleau-Ponty, Ricoeur, and Tran-Duc-Thao, as well as Derrida, were all working through it. But the book is most important in allowing us to follow Derrida's own development as a philosopher by tracing the roots of his later work in deconstruction to these early critical reflections on Husserl's phenomenology. "A dissertation is not merely a prerequisite for an academic job. It may set the stage for a scholar's life project. So, the doctoral dissertations of Max Weber and Jacques Derrida, never before available in English, may be of more than passing interest. In June, the University of Chicago Press will publish Mr. Derrida's dissertation, The Problem of Genesis in Husserl's Philosophy , which the French philosopher wrote in 1953-54 as a doctoral student, and which did not appear in French until 1990. From the start, Mr Derrida displayed his inventive linguistic style and flouting of convention."--Danny Postel, Chronicle of Higher Education. (shrink)

Argues that Hannah Arendt's two major philosophical works, The Human Condition and The Life of the Mind, reveal not a dependency upon Heidegger, but rather a constant and increasing ironic debate with him.

This paper contributes to the clarification of the concept of “typicality” discussed in contemporary philosophy of physics by conceiving the nomological status of a typical behaviour such as that expressed in the Second Law of Thermodynamics as a “minutis rectis law”. A brief sketch of the discovery of “typicality” shows that there were ideas of typical behaviour not only in physics but also in sociology. On this basis and in analogy to the Second Law of Thermodynamics, it is shown that (...) the nomological status of sociological laws such as Gresham’s Law can also be conceived as “minutis rectis laws”. (shrink)

The Federal Trade Commission has an important role to play in the governmental oversight of mobile health apps, ensuring consumer protections from unfair and deceptive trade practices and curtailing anti-competitive methods. The FTC’s consumer protection structure and authority is outlined before reviewing the recent FTC enforcement activities taken on behalf of consumers and against developers of mhealth apps. The article concludes with identification of some challenges for the FTC and modest recommendations for strengthening the consumer protections it provides.

Rassemble 15 textes de J. Derrida consacrés à la mort et au deuil, souvent à l'occasion de la mort de ses amis : Roland Barthes, Michel Foucault, Gilles Deleuze, Maurice Blanchot, etc..... P.-A. Brault et M. Naas analysent la logique des textes et élaborent la question d'une politique du deuil.

The First American edition of a British best-seller In The Principle of Duty.

"When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With The Beast and the Sovereign, Volume I, the University of Chicago Press launches an ambitious series of English translations of these important works based upon the meticulously established original French editions." "In this seminar from 2001 and 2002, Derrida explores the persistent association of bestiality or animality with sovereignty and continues his deconstruction of the (...) traditional determinations of the human. The beast and the sovereign are connected, he contends, because neither animals nor kings are subject to the law - the sovereign stands above it, while the beast falls outside the law from below. He then traces this association through an astonishing array of texts, including La Fontaine's fable "The Wolf and the Lamb," Hobbes's biblical sea monster in Leviathan, D. H. Lawrence's poem "Snake," Machiavelli's Prince with its elaborate comparison of princes and foxes, a historical account of Louis XIV attending an elephant autopsy, and Rousseau's evocation of werewolves in The Social Contract." "Deleuze, Lacan, and Agamben also come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal." --Book Jacket. (shrink)

The Löwenheim-Hilbert-Bernays theorem states that, for an arithmetical first-order language L, if S is a satisfiable schema, then substitution of open sentences of L for the predicate letters of S...

Non-$n$-ampleness as defined by Pillay [20] and Evans [5] is preserved under analysability. Generalizing this to a more general notion of $\Sigma$-ampleness, this gives an immediate proof for all simple theories of a weakened version of the Canonical Base Property (CBP) proven by Chatzidakis [4] for types of finite SU-rank. This is then applied to the special case of groups.

When he died in 2004, Jacques Derrida left behind a vast legacy of unpublished material, much of it in the form of written lectures. With The Beast and the Sovereign, Volume 1, the University of Chicago Press inaugurates an ambitious series, edited by Geoffrey Bennington and Peggy Kamuf, translating these important works into English. The Beast and the Sovereign, Volume 1 launches the series with Derrida’s exploration of the persistent association of bestiality or animality with sovereignty. In this seminar (...) from 2001–2002, Derrida continues his deconstruction of the traditional determinations of the human. The beast and the sovereign are connected, he contends, because neither animals nor kings are subject to the law—the sovereign stands above it, while the beast falls outside the law from below. He then traces this association through an astonishing array of texts, including La Fontaine’s fable “The Wolf and the Lamb,” Hobbes’s biblical sea monster in Leviathan, D. H. Lawrence’s poem “Snake,” Machiavelli’s Prince with its elaborate comparison of princes and foxes, a historical account of Louis XIV attending an elephant autopsy, and Rousseau’s evocation of werewolves in The Social Contract. Deleuze, Lacan, and Agamben also come into critical play as Derrida focuses in on questions of force, right, justice, and philosophical interpretations of the limits between man and animal. (shrink)

La 4e de couv. indique : "Prenant ici toute l’initiative, Elisabeth Weber a choisi, en les présentant, vingt entretiens parmi tous ceux auxquels Jacques Derrida a participé depuis près de vingt ans. Elle s’est donné pour cela un certain nombre de critères, et d’abord celui de la diversité : celle des sujets (la question des femmes, la poésie, la drogue, le sida, l’enseignement, en particulier celui de la philosophie, et, croisant tous ces thèmes, la politique et les médias), celle (...) des tons (analytique ou joueur, militant ou « autobiographique »), celle des destinataires (en France, en Europe, Outre-Altantique).". (shrink)

Jacques Derrida’s Cinders is among the most remarkable and revealing of this distinguished author’s many writings. White Derrida customarily devotes his powers of analysis to exacting readings of texts from Plato and Aristotle to Freud and Heidegger, readers of Cinders will soon discover that here Derrida is engaged in a poetic self-analysis. Ranging across his numerous writings over the past twenty years, Derrida discerns a recurrent cluster of arguments and images, all involving in one way or another ashes and (...) cinders. First published in 1982, revised in 1987, and printed here in a bilingual edition, Cinders enables readers to follow the development of Derrida’s thinking from 1968 to the present as it defines itself as a persistent questioning of origins that invariably leads to the thought of ash and cinder. Written in a highly condensed poetic style, Cinders reveals some of Derrida’s most probing etymological and philosophical reflections on the relation of language to the human. It also contains some of his most essential elaborations of his thinking on the feminine and on the legacy of the Holocaust in contemporary poetry and philosophy.Uniquely accessible to readers who have only recently begun to read Derrida and essential for all those familiar with Derrida’s work, Cinders is an evocative and thoughtful contribution to our understanding of deconstruction. (shrink)

This text considers several case studies of subaltern silence as micro political resistance. Around these examples I thread a theoretical model to explain how performing silences could resist oppression without assuming an underlying well-articulated subjectivity. The article deals with the force of silence, its conditions of possibility, and its position with respect to representation.

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

In the 20th century, genetic explanatory approaches became dominant in both developmental and evolutionary biological research. By contrast, physical approaches, which appeal to properties such as mechanical forces, were largely relegated to the margins, despite important advances in modeling. Recently, there have been renewed attempts to find balanced viewpoints that integrate both biological physics and molecular genetics into explanations of developmental and evolutionary phenomena. Here we introduce the 2017 SICB symposium “Physical and Genetic Mechanisms for Evolutionary Novelty” that was dedicated (...) to exploring empirical cases where both biological physics and developmental genetic considerations are crucial. To further contextualize these case studies, we offer two theoretical frameworks for integrating genetic and physical explanations: combining complementary perspectives and comprehensive unification. We conclude by arguing that intentional reflection on conceptual questions about investigation, explanation, and integration is critical to achieving significant empirical and theoretical advances in our understanding of how novel forms originate across the tree of life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DAVID HUME AND EIGHTEENTH CENTURY MONETARY THOUGHT: A CRITICAL COMMENT ON RECENT VIEWS To the argument that it makes little difference what precise roles were played by various actors in a great movement, and that the busy modern reader cannot be bothered to go behind the scenes of popular successes, the answer is simple: it is on the whole better to call men and events by their right names; (...) it is on the whole wiser not to make false diagrams of the way things happen. What, after all, are we so busy about? Jacques Barzun, Darwin, Marx, Wagner The praise that has been bestowed upon David Hume's monetary thought in recent years would suggest that however little attention is paid to the history of economic thought otherwise, no one is averse to a long and respectable lineage.1 However, it is just when an individual is singled out and focused upon that the most misleading ideas can arise; furthermore, when the scholars who provide this attention are renowned authorities in specialized fields, their views receive very widespread circulation. It would not be easy to find a contemporary student of the eighteenth century who would assert that the mercantilists believed real wealth to consist of gold and silver, yet the late Harry Johnson made just such an assertion not very long ago, and the number of economists who read Harry Johnson must far outnumber those who read eighteenthcentury scholars.2 By the same token, the liberal praise bestowed upon those credited with having "demolished" mercantilism, such as David Hume, requires careful scrutiny. A recent article by Dietrich Fausten3 has shown how different Hume's analysis 157 actually was from modern monetarism, despite the many attempts to designate Hume the father of monetarist doctrines, and this critical approach can be taken farther. Before turning to an examination of Hume's position, it may be worthwhile to make a methodological point. There are those who consider delving into indebtedness and priorities "antiquarian" (but not if their own contributions are in question!). After all, they claim, Hume's views are there in black and white, he wrote elegantly and his philosophical merits are widely admired; does it really matter if Hume did not acknowledge his sources, that he was somewhat inconsistent, or that he caricatured his opponents? Surely some compassion is appropriate for someone who wrote at the very dawn of "economic science." This is to miss the point of such historical scrutiny altogether. If compassion were required, why should it be bestowed upon Hume, rather than on such predecessors as Gervaise, Cantillon or Vanderlint? Scholars employ certain critical standards in judging published work; let us employ these standards to Hume and if sympathy be required, let it follow and not precede the analysis. II The following passage is certainly one of the most frequently quoted in the history of economics but its importance for our argument makes repetition necessary. Suppose, that all the money of Great Britain were multiplied fivefold in a night, must not the contrary effect follow? Must not all labour and commodities rise to such an exorbitant height, that no neighbouring nations could afford to buy from us; while 158 their commodities, on the other hand, became comparatively so cheap, that, in spite of all the laws which could be formed, they would be run in upon us, and our money flow out; till we fall to a level with foreigners, and lose that great superiority of riches, which had laid us under such disadvantages?4 Two points should be noted about the above. First, Hume assumes a sudden, large inflow of money to make his point. This is a very different thing from the small [relative to the money stock] and steady inflow advocated by the so-called mercantilists. Secondly, Hume assumes that this sudden inflow is met by instantaneous adjustment in prices. Otherwise, if the change in, say, wages attracts more labour, there is no reason why the increased money supply could not lead to a greater output and thus avoid inflation. International labour mobility was a standard feature of mercantilist thought and so it will be seen that Hume's "new" result is obtained by his... (shrink)

We define an R-group to be a stable group with the property that a generic element (for any definable transitive group action) can only be algebraic over a generic. We then derive some corollaries for R-groups and fields, and prove a decomposition theorem and a field theorem. As a nonsuperstable example, we prove that small stable groups are R-groups.

In this article we present a new experimental paradigm: comparative visual search. Each half of a display contains simple geometrical objects of three different colors and forms. The two display halves are identical except for one object mismatched in either color or form. The subject's task is to find this mismatch. We illustrate the potential of this paradigm for investigating the underlying complex processes of perception and cognition by means of an eye‐tracking study. Three possible search strategies are outlined, discussed, (...) and reexamined on the basis of experimental results. Each strategy is characterized by the way it partitions the field of objects into “chunks.” These strategies are: (i) Stimulus‐wise scanning with minimization of total scan path length (a “traveling salesman” strategy), (ii) scanning of the objects in fixed‐size areas (a “searchlight” strategy), and (iii) scanning of object sets based on variably sized clusters defined by object density and heterogeneity (a “clustering” strategy). To elucidate the processes underlying comparative visual search, we introduce besides object density a new entropy‐based measure for object heterogeneity. The effects of local density and entropy on several basic and derived eye‐movement variables clearly rule out the traveling salesman strategy, but are most compatible with the clustering strategy. (shrink)