The digital age brings with it novel forms of data flow. As a result, individuals are constantly being monitored while consuming products, services and content. These abilities have given rise to a variety of concerns, which are most often framed using “privacy” and “data protection”-related paradigms. An important, oft-noted yet undertheorized concern is that these dynamics might facilitate the manipulation of subjects; a process in which firms strive to motivate and influence individuals to take specific steps and make particular decisions (...) in a manner considered to be socially unacceptable. That it is important and imperative to battle manipulation carries with it a strong intuitive appeal. Intuition, however, does not always indicate the existence of a sound justification or policy option. For that, a deeper analytic and academic discussion is called for. This Article begins by emphasizing the importance of addressing the manipulation-based argument, which derives from several crucial problems and flaws in the legal and policy setting currently striving to meet the challenges of the digital age. Next, the Article examines whether the manipulation-based concerns are sustainable, or are merely a visceral response to changing technologies which cannot be provided with substantial analytical backing. Here the Article details the reasons for striving to block manipulative conduct and, on the other hand, reasons why legal intervention should be, in the best case, limited. The Article concludes with some general implications of this discussion for the broader themes and future directions of privacy law, while trying to ascertain whether the rise of the manipulation-based discourse will lead to information privacy’s expansion or perhaps its demise. (shrink)

Dorfman et al. (2024) make a significant empirical contribution to a growing body of literature pertaining to issues of futility in psychiatry. The authors acknowledge that their survey methodologi...

The authors explore the interfaces between different dimensions of moral cognition, bridging economic, Bayesian and reinforcement learning perspectives. The human aversion to harming others cuts across these different interfaces, influencing decisions, judgments, and inferences about morality.

Исследование - это попытка выявить социокультурные основания, предпосылки и условия превращения человека традиционного восточного общества в современную личность. Для специалистов.

A fundamental way in which human thought has developed has been constantly to explain the earliest "classics" that are the source of that thought. All in all, the number of such classics is not very high, their explanations are past counting. Moreover, they are constantly increasing, giving rise to an explanatory chain deriving from the classics. In the development of Chinese philosophy, this aspect is particularly noticeable, so that one can describe Chinese philosophy as a continual explanation of the classics. (...) This holds for both Confucianism and Daoism. The main classics of Daoism are the Laozi and the Zhuangzi. These two works have been constantly reread and reinterpreted throughout history. From the late nineteenth century onward, Chinese philosophy came into closer contact with Western philosophy. Foreign concepts were brought in to provide philosophers with new "insight." Some thinkers applied this new insight or these foreign concepts to the Daoist classics. In this way, they brought a new explanation of the Daoist classics and enriched the ways of interpreting the texts.1 Paving the way in this direction were Yan Fu (1853-1921). Zhang Taiyan (1869-1936), Liang Qichao (1873-1929), Wang Guowei (1877-1927), and Hu Shi (1891-1962). (shrink)

The article is devoted to the well-known dispute between R. Carnap and W.V.O. Quine on the meaning of statements with names of abstractions, which also revealed their disagreements on the more general question of the nature of the dependence of ontology on the choice of language of knowledge. According to Quine, the choice of language carries with it certain ontological commitments – judgments of existence that must be true for anyone who appropriately uses the language in question. The language of (...) abstractions (using appropriate names and indications) is widely used not only in philosophy and everyday communication, but also in the sciences, including natural sciences. The names of abstractions (or, alternatively, quantification by corresponding entities) cannot be completely excluded from science, as Carnap, in particular, points out. He also considers it wrong to attribute to a scientist with empiricist views the belief in the existence of something that he, as an empiricist, is not ready to consider existing. In his view, the choice of language (framework) does not carry any ontological obligations: it determines what should be the correct answer to the so-called internal questions of the theory but does not affect metaphysical questions. Carnap interprets meaningful statements about abstractions as analytical truths, while Quine believes that most references to abstractions are removable from the language of science, and those that are not removable create additional ontological obligations, which, however, for some reason say nothing about reality itself. But why this is so, if the theory implicating them claims to describe reality, is not clear. This debate about the role of judgments about abstractions in scientific knowledge gave rise to a whole branch of metaphysical and ontological research, best known as metaontology. The main parties in this dispute are realists, who interpret irreducible abstractions as part of reality and denotations of certain names, and anti-realists, who, as a rule, deny the connection of statements with such names with reality, treating them as pseudo-statements or something similar. The solution to the problem, which is proposed in this article, consists in abandoning the belief, widespread both in philosophy and in everyday thought, which can be generally called “The theory of reference” and which consists in the fact that the contribution of names and certain other types of expressions to communication is their denotations. If we assume that names have no denotations at all and their semantic contribution to statements is only their senses or something similar, then the names of abstractions in this respect will be no different from other types of names. In this case, it would be no need to either assume that they designate some “Platonic” entities in order for some statements with them being true, nor interpret these judgments as pseudo-statements or as truths of some special kind that are not related to reality. The interpretation of statements with such names and their evaluation will not pose any special problem for the empiricist with this approach. (shrink)

This chapter introduces the edited volume, The Oxford Handbook of Philosophy and Psychiatry. Published in 2013, the centenary of Karl Jaspers' General Psychopathology, the chapter draws lessons from the last hundred years for the coming century. No predictions are made. Instead, five 'conditions for flourishing' are set out: 1) Particular Problems - the importance of focussing on well-defined particular problems rather than general theory building, 2) Product- orientation - remaining always responsibly product oriented in the specific sense that both sides (...) put in the work necessary to 'go deep' with each other's fields, 3) Partnership - working in partnerships of one kind or another, 4) Process - constant reflection on process based on peer review but leaving scope for the occasional rogue voice to cut innovatively against the grain, and 5) Q - a condition of a different kind, Q is an empirically derived measure of the balance between in-group cohesion and out-group openness required to support creativity. Illustrations are given of how these five conditions for flourishing have underpinned the rapid expansion of philosophy and psychiatry in the closing decades of the twentieth century, and, correspondingly, are also reflected in the Handbook as a whole. Overviews and commentaries on individual contributions to the Handbook are given in extended editorial introductions to each of its eight sections. (shrink)

Background Neuroscientific approaches have historically triggered changes in the conception of creativity and artistic experience, which can be revealed by noting the intersection of these fields of study in terms of variables such as global trends, methodologies, objects of study, or application of new technologies; however, these neuroscientific approaches are still often considered as disciplines detached from the arts and humanities. In this light, the question arises as to what evidence the history of neurotechnologies provides at the intersection of creativity (...) and aesthetic experience. Methods We conducted a century-long bibliometric analysis of key parameters in multidisciplinary studies published in the Scopus database. Screening techniques based on the PRISMA method and advanced data analysis techniques were applied to 3612 documents metadata from the years 1922 to 2022. We made graphical representations of the results applying algorithmic and clusterization processes to keywords and authors relationships. Results From the analyses, we found a) a shift from a personality-focus quantitative analysis to a field-focus qualitative approach, considering topics such as art, perception, aesthetics and beauty; b) The locus of interest in fMRI-supported neuroanatomy has been shifting toward EEG technologies and models based on machine learning and deep learning in recent years; c) four main clusters were identified in the study approaches: humanistic, creative, neuroaesthetic and medical; d) the neuroaesthetics cluster is the most central and relevant, mediating between creativity and neuroscience; e) neuroaesthetics and neuroethics are two of the neologism that better characterizes the challenges that this convergence of studies will have in the next years. Conclusions Through a longitudinal analysis, we evidenced the great influence that neuroscience is having on the thematic direction of the arts and humanities. The perspective presented shows how this field is being consolidated and helps to define it as a new opportunity of great potential for future researchers. (shrink)

Background Neuroscientific approaches have historically triggered changes in the conception of creativity and artistic experience, which can be revealed by noting the intersection of these fields of study in terms of variables such as global trends, methodologies, objects of study, or application of new technologies; however, these neuroscientific approaches are still often considered as disciplines detached from the arts and humanities. In this light, the question arises as to what evidence the history of neurotechnologies provides at the intersection of creativity (...) and aesthetic experience. Methods We conducted a century-long bibliometric analysis of key parameters in multidisciplinary studies published in the Scopus database. Screening techniques based on the PRISMA method and advanced data analysis techniques were applied to 3612 documents metadata from the years 1922 to 2022. We made graphical representations of the results applying algorithmic and clusterization processes to keywords and authors relationships. Results From the analyses, we found a) a shift from a personality-focus quantitative analysis to a field-focus qualitative approach, considering topics such as art, perception, aesthetics and beauty; b) The locus of interest in fMRI-supported neuroanatomy has been shifting toward EEG technologies and models based on machine learning and deep learning in recent years; c) four main clusters were identified in the study approaches: humanistic, creative, neuroaesthetic and medical; d) the neuroaesthetics cluster is the most central and relevant, mediating between creativity and neuroscience; e) neuroaesthetics and neuroethics are two of the neologism that better characterizes the challenges that this convergence of studies will have in the next years. Conclusions Through a longitudinal analysis, we evidenced the great influence that neuroscience is having on the thematic direction of the arts and humanities. The perspective presented shows how this field is being consolidated and helps to define it as a new opportunity of great potential for future researchers. (shrink)

Haḳdamat Mesilat yesharim, śiḥah 1 -- Mesilat yesharim, śiḥah 2 -- Mesilat yesharim, śiḥah 3.

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

We introduce a notion of multilocality, which is a generalization of local communitivity. We then present bilocal fields transforming as mass-m, spin-0 fields as well as a trilocal field transforming as a mass-m, spin-1/2 field. Possible interaction vertices are also given.

These are but just some of the stories covered in this entertaining book that deals with the history of physics from the end of the 19th-century to about 1930.Quips, Quotes and Quanta (2nd Edition) is unique in that it contains anecdotes on ...

Microbial genome sequencing has entered a new phase, where DNA sequence information is gathered from entire microbial communities (metagenomics or environmental genomics) rather than from individual microorganisms. By providing access to the genetic material of vast numbers of organisms, most of which are organisms that have never been isolated or cultivated, a new level of insight is being gained into the diversity and extent of the microbial processes that are presently occuring in environmental communities. By extending metagenomic‐based approaches to the (...) study of very complex and methodologically recalcitrant soil environments, a recent study has found that ammonia‐oxidizing archaea are more abundant in many soils than bacteria.1 These findings not only highlight the undoubtedly critical yet unknown roles that archaea play in global nutrient cycles but illustrate the importance of genomic studies for informing us about the functional capacity of life on Earth. BioEssays 29: 11–14, 2007. © 2006 Wiley Periodicals, Inc. (shrink)

Jean-Paul Sartre''s position on religion has traditionally been reduced to variations of his well-known atheism. This is a result of collapsing the distinction between religion and theism, as both critics and supporters of Sartre have commonly done. Consequently, attention to Sartre''s persistent and pervasive concern with religious ideas, symbols, and experiences has been neglected. While the religious implications of Sartre''s thought have mostly been considered in relation to Christian theology, other newer areas of religious studies suggest additional avenues for considering (...) Sartre. Sartre''s possible connections to four such areas are discussed: 1) Eastern religions; 2) Jewish studies; 3) feminist theology, and 4) the psychoanalysis of religion. (shrink)

Building on their important findings in The Source of the River, the authors now probe even more deeply into minority underachievement at the college level. Taming the River examines the academic and social dynamics of different ethnic groups during the first two years of college. Focusing on racial differences in academic performance, the book identifies the causes of students' divergent grades and levels of personal satisfaction with their institutions. Using survey data collected from twenty-eight selective colleges and universities, Taming the (...) River considers all facets of student life, including who students date, what fields they major in, which sports they play, and how they perceive their own social and economic backgrounds. The book explores how black and Latino students experience pressures stemming from campus racial climate and "stereotype threat"--when students underperform because of anxieties tied to existing negative stereotypes. Describing the relationship between grade performance and stereotype threat, the book shows how this link is reinforced by institutional practices of affirmative action. The authors also indicate that when certain variables are controlled, minority students earn the same grades, express the same college satisfaction, and remain in school at the same rates as white students. A powerful look at how educational policies unfold in America's universities, Taming the River sheds light on the social and racial factors influencing student success. (shrink)

One of the major concerns of the social philosophy is the technological revolution and its impacts on the social systems. Critical views on the systems from the social philosophers depart from the social predicaments of their time. The pivotal critic of Karl Marx in his work of Das Capital, for example, is on poverty caused by the system of capitalism. Capitalism, for him, only produces various social downturns such as slavery, oppressions, exploitations and impoverishment. Herbert Marcuse, meanwhile, pointed at the (...) same problem, but he came from a different point of view from Marx. Marcuse criticized the abundant society. In One Dimensional Man Marcuse rendered a couple of incisive critics on the industrial society. Industrial society, for him, is marked by the abundance and surplus but this society is still oppressed under a new type of slavery, called voluntary slavery. We may briefly say that both philosophers rendered critics on the same matter of the industrial society, but the two stood on the different position. Marx’s critic was on the hungry and deficient society, while Marcuse on a satiated, plenteous and surplus society. The aim of this paper is to present of how Marcuse’s One-Dimensional Man ends in the digital age. (shrink)