Over a decade ago, I introduced a large-scale theory of the cognitive brain which explained for the first time how the human brain is able to create internal models of its intimate world and invent models of a wider universe. An essential part of the theoretical model is an organization of neuronal mechanisms which I have named the Retinoid Model (Trehub, 1977, 1991). This hypothesized brain system has structural and dynamic properties enabling it to register and appropriately integrate disparate (...) foveal stimuli into a perspectival, egocentric representation of an extended 3D world scene including a neuronally-tokened locus of the self which, in this theory, is the neuronal origin of retinoid space. As an integral part of the larger neuro-cognitive model, the retinoid system is able to perform many other useful perceptual and higher cognitive functions. In this paper, I draw on the hypothesized properties of this system to argue that neuronal activity within the retinoid structure constitutes the phenomenal content of consciousness and the unique sense of self that each of us experiences. -/- Trehub, A. (1977). Neuronal models for cognitive processes: Networks for learning, perception, and imagination. _Journal of Theoretical Biology_ 65: 141-169. -/- Trehub, A. (1991). _The Cognitive Brain_. MIT Press. -/- . (shrink)

Activation of the brainʼs putative retinoid system has been proposed as the neuronal substrate for our basic sense of being centered within a volumetric surround –- our minimal phenomenal consciousness (Trehub 2007). Here, the assumed properties of the self-locus within the retinoid model are shown to explain recent experimental findings relating to the out-of-body-experience. In addition, selective excursion of the heuristic self-locus is able to explain many important functions of consciousness, including the effective internal representation of a 3D space (...) on the basis of 2D perspective depictions. Our sense of self-agency is shown to be a natural product of the role of the heuristic self-locus in the retinoid mechanism. (shrink)

"Arguing that debates over legitimacy, political violence, freedom, and justice would benefit greatly from cross-tradition theorizing, this book shows how putting analytic and continental political theory in conversation would help us to overcome these intractable problems"--.

"As a 'rhetoric of the mean' (mesotes ideal), sensibility provides a positive catalog of emotionalization. This is because ethos as an emotional level is viewed as being able, through gentle emotions, to please, placate and achieve sympathy and virtue (Quintilian). Sensibility in literature creates a bridge between an 'art of the soul' that developed into a major subjective and personal factor in the 18th century and a sense of sociability that aimed to integrate the individual into the community. The goal (...) of this study is to provide, through a structural linking of the ethos of virtue and the 'rhetoric of the mean', a reading of literature of sensibility based on rhetoric and cultural history that can explain both its public success 'with the people' and the reasons for why it failed to meet its own claims."--Publisher's website. (shrink)

This book explores the relationship between scientific fact and metaphysical reality, offering a fresh perspective on the intersection of these two seemingly disparate fields. 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. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in (...) the book -- thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study. (shrink)

Ce papier présente le corpus des discours du Premier ministre anglais (Tony Blair) prononcés de 1997 à 2004. Avant d'être intégrés dans le corpus, les textes sont corrigés, les graphies sont standardisées. On montre que ce corpus ouvre de nombreuses pistes de recherches. Deux exemples sont donnés : les principales ruptures thématiques et stylistiques permettent de repérer deux grandes périodes dans ces huit années ; on caractérise la richesse du vocabulaire de T. Blair à l'aide des notions de spécialisation et (...) de diversité. (shrink)

If I desire to drink some stuff thinking it is hot chocolate when actually it is hot mud, my desire is not a real one - it’s mistaken or only apparent. This example illustrates how a desire must always depend on a belief about its object, a belief about what it is and what it’s like. But beliefs are correctable, so desires are correctable. This leads us directly to a very sweeping principle - that I only really desire what I (...) would be desiring with a perfect grasp of everything involved. If there’s something that I desire only because my grasp of it is less than perfect, then it is not something that I really desire. I have no real reason for wanting it, and it would not be in my real self-interest to get it. The hypothetical perfect grasp that defines a real desire would have to have a God-like reach into all the relevant realities in all their actuality and all their potential. And it would have to include perfectly within it all the desires of all those affected by what the grasp was of. Therefore what would be wanted in a perfect grasp would be a reconciliation of all the systems of desire contained within it - not as they happen to be but as they would be corrected by a perfect grasp. This reconciliation of systems of desire is that which morality requires. Therefore what I really want - my own fully-corrected self-interest - is precisely the same as the requirements of morality. This sameness explains and justifies morality’s categorical character and over-riding authority. (shrink)

This article describes our efforts to screen and enrol clinical trial participants conscientiously in the COVID-19 pandemic setting. We present the standard screening and enrolment process prior to, and our process of adapting to, the pandemic. Our goal was to develop a way to screen and enrol people for clinical trials that was both equitable and effective. In addition, we outline the steps our research department took to ensure that ethical, clinical and logistical factors were considered when matching a patient (...) to a clinical trial. (shrink)

For most people the city, particularly the industrial city, is the antithesis of the aesthetic. While there may be sections that have their charm, trucks and automobiles have conquered the urban streets and pedestrians scurry before them like vanquished before a victor. Gardens and parks are occasional oases amidst the stone desert of concrete and asphalt, but the dominating features of urban experience remain mechanical and electronic noise, trash, monolithic skyscrapers, and moving vehicles. The personal and intimate are swallowed up (...) in mass structure and mass culture. And the human place—precarious and threatened. (shrink)

My visual cortex at the back of my brain processes the stimulation to my eyes and then causes other parts of the brain - like the speech centre and the areas involved in thought and movement - to be properly responsive to vision. According to functionalism the whole mental character of vision - the whole of how things look - is fixed purely in the pattern of responses to vision and not in any of the initial processing of vision in (...) the visual cortex. That this functionalist theory of vision is true can be proved with alarming ease. Imagine that just the left side of my visual cortex is replaced by a gadget that has precisely the same input/output relationship to the rest of the brain as the left visual cortex had. According to any view but functionalism, the character of my vision on the right side of my visual field (normally processed by the left visual cortex) would change radically with this change in all the intrinsic properties involved in the visual cortex, with this preservation of nothing but its functional role in bringing about my responses to vision. But, say I, we have enough here to be sure that in such a case there could be no change in the character of my vision. For we know by the stipulation of sameness of output that my responses in speech, thought and movement to the right side of my visual field will be precisely the same as they would have been with the natural left visual cortex and will harmonise just as they would have done with my responses to the other side of my vision. But if half my vision had disappeared or changed I’d be speaking, thinking and acting like someone with problems on the right side of his vision. It is impossible to separate my responses to vision from the character of my vision. The character of my vision is logically determined by the pattern of responses - by nothing but the functional role of my vision. (shrink)

Instead of the discrete emotions approach adopted by Juslin & Vll (J&V), the present perspective considers musical signals as functioning primarily to influence listeners in ways that are favorable to the signaler. Viewing music through the lens of social-emotional regulation fits with typical uses of music in everyday contexts and with the cross-cultural use of music for infant affect regulation.

Imagine that you and a duplicate of yourself are lying unconscious, next to each other, about to undergo a complete step-by-step exchange of bits of your bodies. It certainly seems that at no stage in this exchange of bits will you have thereby switched places with your duplicate. Yet it also seems that the end-result, with all the bits exchanged, will be essentially that of the two of you having switched places. Where will you awaken? I claim that one and (...) the same person possesses both bodies, occupies both places and will experience both awakenings, just as a person whose brain has been bisected must at once experience both of the unconnected fields of awareness, even though each of these will falsely appear to him as the entirety of his experience. I also claim that the more usual apparent boundaries of persons are as illusory as those in brain bisection; personal identity remains unchanged through any variation or multiplication of body or mind. In all conscious life there is only one person - I - whose existence depends merely on the presence of a quality that is inherent in all experience - its quality of being mine, the simple immediacy of it for whatever is having experience. One powerful argument for this is statistical: on the ordinary view of personhood it is an incredible coincidence for you (though not for others) that out of 200,000,000 sperm cells the very one required on each occasion for your future existence was first to the egg in each of the begettings of yourself and all your ancestors. The only view that does not make your existence incredible, and that is not therefore (from your perspective) an incredible view, is that any conscious being would necessarily have been you anyway. It is a consequence that self-interest should extend to all conscious organisms. (shrink)

While written by a prominent and active scientist, this book is based on personal experience and biblical theology. It doesn't try to derive God s existence from science and it's critical of scientific inferences on the notion of God (Natural Theology). Cosmic fine-tuning and other coincidences are no proof of God, but are amazing, astounding and will never be fully explained. Amazement is the appropriate emotional perception of reality. The objective world is not a matter of course and may well (...) not exist at all; thus reality, at times, is experienced to be very special. Human life, the beauty of nature, the habitability of planet Earth can be considered undeserved gifts. In the light of these gifts, the universe is metaphorically interpreted and existentially believed as a divine Creation. Science cannot create such faith but can foster it. Is God necessary to explain the universe? Is the idea of a Creator excluded by modern science? Why continue speaking of a Creator and to believe (trust and hope) in His continuing creation when God cannot be demonstrated in scientific data? Arnold Benz, a renowned astrophysicist and Christian, insists that human perception reaches further than science and demonstrates this in various examples, personal, biblical, and literary.". (shrink)

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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. 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. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Utopie und Tranzendenz.--Über Transzendenz und Symbol.--Der Einzelne und der Einsame.--Humanum und Exil.--Die phänomenologische Frage nach dem möglichen Menschen.