RESUMEN Nos adentramos en esos procesos de subjetivación en los que el músico de jazz experimenta en sí otras formas de corporalidad, que se dirimen entre sujeción a esquemas y ruptura de los corsés por una teatralidad en escena. Aparentemente, en la improvisación prima lo subversivo y la reificación del músico como autor libre; sin embargo, observamos empíricamente una corporalidad plural que trasciende el espacio de la escena y que facilita que todos los actores intervengan en el proceso de creación. (...) Hallamos una red de solidaridad que desplaza continuamente los puntos fijos por donde transita la música; así, cuando a un músico le falta el aire, su compañero le da el relevo. Si lo fundamental en la praxis de la música son las continuas alternativas que ofrece, concluimos con una reflexión ética sobre la naturaleza transitoria de la música y su temporalidad kairológica, en la que el músico, sintiendo la brevedad del instante de la nota que muere cuando nace, se reencuentra con lo insignificante de la que está hecha su condición humana. ABSTRACT We enter these processes of subjectivation in which the jazz musician experiences in himself other forms of corporeality, which are settled between subjection to schemes and breakup of the corsets by a theatricality on stage. Apparently, in improvisation what is subversive and the reification of the musician as a free author take priority; nevertheless, we empirically observe a plural corporeality that goes beyond the space of the scene and that facilitates that all the actors take part in the process of creation. We found a solidarity network that continuously displaces the fixed points where music circulates; thus, when a musician is short of breath, his partner takes over. If what is fundamental in the praxis of music is the continuous alternatives it offers, we conclude with an ethical reflection on the transitory nature of music and its kairological temporality, in which the musician, feeling the briefness of the instant of the note that dies when it is born, joins the insignificance of his human condition. (shrink)

Chords are not pure sets of tones or notes. They are mainly characterized by their matrices. A chord matrix is the pattern of all the lengths of intervals given without further context. Chords are well-structured invariants. They show their inner logical form. This opens up the possibility to develop a molecular logic of chords. Chords are our primitive, but, nevertheless, already interrelated expressions. The logical space of internal harmony is our well-known chromatic scale represented by an (...) infinite line of integers. Internal harmony is nothing more than the pure interrelatedness of two or more chords. We consider three cases: chords inferentially related to subchords, pairs of chords in the space of major–minor tonality and arbitrary chords as arguments of unary chord operators in relation to their outputs. One interesting result is that chord negation transforms any pure major chord into its pure minor chord and vice versa. Another one is the fact that the negation of chords with symmetric matrices does not change anything. A molecular logic of chords is mainly characterized by combining general rules for chord operators with the inner logical form of their arguments. (shrink)

Two old problems in probability theory involving the concept of randomness are considered. Data obtained with one of them--Bertrand's chord problem--demonstrate the equivocality of this term in the absence of a definition or explication of assumptions underlying its use. They also support two propositions about probabilistic thinking: (1) upon obtaining an answer to a question of probability, people tend to see it as the answer, overlooking tacit assumptions on which it may be based, and tend not to consider the possibility (...) of other assumptions from which different answers would follow; (2) perceptual balance--moderate uniformity of density of distribution--is a determinant of the degree to which a two-dimensional pattern is perceived as random. (shrink)

With mathematical reconstructions and philosophical arguments I show that Toomer's 1973 paper never contained any conclusive evidence for his claims that Hipparchus had a 3438'-based chord table, and that the Indians used that table to compute their sine tables. Recalculating Toomer's reconstructions with a 3600' radius -- i.e. the radius of the chord table in Ptolemy's Almagest, expressed in 'minutes' instead of 'degrees' -- generates Hipparchan-like ratios similar to those produced by a 3438' radius. It is therefore possible that the (...) radius of Hipparchus's chord table was 3600', and that the Indians independently constructed their 3438'-based sine table. (shrink)

And he unflinchingly confronts the Wagner whose paranoia, egocentricity, and anti-Semitism are as repugnant as his achievements are glorious."--Jacket.

A critical issue in perception is the manner in which top‐down expectancies guide lower level perceptual processes. In speech, a common paradigm is to construct continua ranging between two phonetic endpoints and to determine how higher level lexical context influences the perceived boundary. We applied this approach to music, presenting participants with major/minor triad continua after brief musical contexts. Two experiments yielded results that differed from classic results in speech perception. In speech, context generally expands the category of the expected (...) stimuli. We found the opposite in music: The major/minor boundary shifted toward the expected category, contracting it. Together, these experiments support the hypothesis that musical expectancy can feed back to affect lower‐level perceptual processes. However, it may do so in a way that differs fundamentally from what has been seen in other domains. (shrink)

Most studies of motifs of biological regulatory networks focus on the analysis of asymptotical behaviours, but transient properties are rarely addressed. In the line of our previous study devoted to isolated circuits 19:172–178, 2003), we consider chorded circuits, that are motifs made of an elementary positive or negative circuit with a chord, possibly a self-loop. We provide detailed descriptions of the boolean dynamics of chorded circuits versus isolated circuits, under the synchronous and asynchronous updating schemes within the logical formalism. To (...) this end, we address the description of the trajectories in the dynamics of isolated circuits with coding techniques and adapt them for chorded circuits. The use of the logical modeling gives access to mathematical tools allowing complete analytical analysis of basic yet important motifs. In particular, we show that whatever the chosen updating rule, the dynamics depends on a small number of parameters. (shrink)

In this paper I will introduce the reader to Carl Stumpf’s philosophy through a discussion of a problem about simultaneous perception of several objects. This problem is at the heart of several of his works and therefore well suited for my purpose.

As an artist I admittedly scrutinize all of the theories related to the arts closely. I do this for a number of reasons. The obvious one is that I have a deeply felt personal relationship with the subject matter. Less obvious is my experience in general. My early research was motivated by a desire to discover the historical circumstances that led to the difficulty in fitting visual art into the discussions I encountered. Generally, it seemed that the dominant framework trivialized (...) what I considered the most important aspects of the creative process. Over time I concluded that developing an interdisciplinary approach offered the best option for expanding views, although it is not an easy task. Establishing areas of commonality across a range of disciplines must somehow accommodate the ways in which each has developed a research agenda that seems to serve its core needs. In consciousness studies, for example, we have a field that relies heavily on scientific research and humanistic methodologies when building the philosophical models scholars use to structure theories. This methodology is not only removed from the nuts and bolts of art, it is also easily manipulated in discourse on art due to the ease with which we can fit aspects of art into the philosophical framework. Clearly this approach fits nicely with philosophically defined concepts such as meaning, emotion, and other elusive modes. In addition, using the well-honed categories aids in bracketing themes such as metaphor, interpretation, subjectivity, language and history. Nonetheless, in reading through the studies, I repeatedly conclude that the voices of practitioners need to be included to a greater degree. (shrink)

Events between which we have no epistemic reason to discriminate have equal epistemic probabilities. Bertrand’s chord paradox, however, appears to show this to be false, and thereby poses a general threat to probabilities for continuum sized state spaces. Articulating the nature of such spaces involves some deep mathematics and that is perhaps why the recent literature on Bertrand’s Paradox has been almost entirely from mathematicians and physicists, who have often deployed elegant mathematics of considerable sophistication. At the same time, the (...) philosophy of probability has been left out. In particular, left out entirely are the philosophical ground of the principle of indifference, the nature of the principle itself, the stringent constraint this places on the mathematical representation of the principle needed for its application to continuum sized event spaces, and what these entail for rigour in developing the paradox itself. This book puts the philosophy and its entailments back in and in so doing casts a new light on the paradox, giving original analyses of the paradox, its possible solutions, the source of the paradox, the philosophical errors we make in attempting to solve it and what the paradox proves for the philosophy of probability. The book finishes with the author’s proposed solution—a solution in the spirit of Bertrand’s, indeed—in which an epistemic principle more general than the principle of indifference offers a principled restriction of the domain of the principle of indifference. (shrink)

How might artificial neural networks (ANNs) inform cognitive science? Often cognitive scientists use ANNs but do not examine their internal structures. In this paper, we use ANNs to explore how cognition might represent musical properties. We train ANNs to classify musical chords, and we interpret network structure to determine what representations ANNs discover and use. We find connection weights between input units and hidden units can be described using Fourier phase spaces, a representation studied in musical set theory. We (...) find the total signal coming through these weighted connection weights is a measure of the similarity between two Fourier structures: the structure of the hidden unit's weights and the structure of the stimulus. This is surprising because neither of these Fourier structures is computed by the hidden unit. We then show how output units use such similarity measures to classify chords. However, we also find different types of units—units that use different activation functions—use this similarity measure very differently. This result, combined with other findings, indicates that while our networks are related to the Fourier analysis of musical sets, they do not perform Fourier analyses of the kind usually described in musical set theory. Our results show Fourier representations of music are not limited to musical set theory. Our results also suggest how cognitive psychologists might explore Fourier representations in musical cognition. Critically, such theoretical and empirical implications require researchers to understand how network structure converts stimuli into responses. (shrink)

Weight systems on chord diagrams play a central role in knot theory and Chern-Simons theory; and more recently in stringy quantum gravity. We highlight that the noncommutative algebra of horizontal chord diagrams is canonically a star-algebra, and ask which weight systems are positive with respect to this structure; hence we ask: Which weight systems are quantum states, if horizontal chord diagrams are quantum observables? We observe that the fundamental gl(n)-weight systems on horizontal chord diagrams with N strands may be identified (...) with the Cayley distance kernel at inverse temperature beta=ln(n) on the symmetric group on N elements. In contrast to related kernels like the Mallows kernel, the positivity of the Cayley distance kernel had remained open. We characterize its phases of indefinite, semi-definite and definite positivity, in dependence of the inverse temperature beta; and we prove that the Cayley distance kernel is positive (semi-)definite at beta=ln(n) for all n=1,2,3,... In particular, this proves that all fundamental gl(n)-weight systems are quantum states, and hence so are all their convex combinations. We close with briefly recalling how, under our "Hypothesis H", this result impacts on the identification of bound states of multiple M5-branes. (shrink)

The ‘real’ issue concerns the status of qualia, that is, the subjective sensory states into which we are thrown when looking at a yellow leaf, hearing a musical chord, sniffing a camembert, or running our fingers over a piece of sandpaper. Is it possible to provide a satisfactory account of such states using only the resources of a materialist functionalism? Or is it the case -- as it has seemed to many, and as it seems to David Chalmers -- that (...) once we have said all there is to say about the physical basis of, and the functional role of, such states, there remains an uneliminable residue: the brute qualitative matter of ‘what it is like’ to sniff the camembert? Since it is extraordinarily hard to tackle this question head-on, we seek the leverage afforded by the notion of the philosopher's zombie, the point being that if we have a coherent intuition to the effect that there is indeed such a residue, then we ought to be able to conceive of the zombie. Just subtract the residue while leaving all the physical/functional stuff in place. Conversely, if it transpires that the notion of the philosopher's zombie breaks down under stress, this would seem to indicate that the intuition of the ineliminable residue is itself problematic. The ‘remedy’ for a belief in zombies is the sort of Dennettian exercise in imagination proposed in this paper. One must be forced to recognize the huge gulf between the simple informational economies of the thermostat, and even the PC, and the amazingly subtle and layered informational economy of a normal human being. Taking the PC, or the severely degraded registrations of actual blindsight victims, as the model, one may fool oneself into thinking one has imagined something when one has not really confronted its detailed implications. This piece will have accomplished its aim if it encourages a few readers to take the latter possibility more seriously than hitherto. (shrink)

We address how listeners perceive temporal regularity in music performances, which are rich in temporal irregularities. A computational model is described in which a small system of internal self‐sustained oscillations, operating at different periods with specific phase and period relations, entrains to the rhythms of music performances. Based on temporal expectancies embodied by the oscillations, the model predicts the categorization of temporally changing event intervals into discrete metrical categories, as well as the perceptual salience of deviations from these categories. The (...) model's predictions are tested in two experiments using piano performances of the same music with different phrase structure interpretations (Experiment 1) or different melodic interpretations (Experiment 2). The model successfully tracked temporal regularity amidst the temporal fluctuations found in the performances. The model's sensitivity to performed deviations from its temporal expectations compared favorably with the performers' structural (phrasal and melodic) intentions. Furthermore, the model tracked normal performances (with increased temporal variability) better than performances in which temporal fluctuations associated with individual voices were removed (with decreased variability). The small, systematic temporal irregularities characteristic of human performances (chord asynchronies) improved tracking, but randomly generated temporal irregularities did not. These findings suggest that perception of temporal regularity in complex musical sequences is based on temporal expectancies that adapt in response to temporally fluctuating input. (shrink)

Auditory perception is traditionally conceived as the perception of sounds — a friend’s voice, a clap of thunder, a minor chord. However, daily life also seems to present us with experiences characterized by the absence of sound — a moment of silence, a gap between thunderclaps, the hush after a musical performance. In these cases, do we positively hear silence? Or do we just fail to hear, and merely judge or infer that it is silent? This longstanding question remains controversial (...) in both the philosophy and science of perception, with prominent theories holding that sounds are the only objects of auditory experience and thus that our encounter with silence is cognitive, not perceptual. However, this debate has largely remained theoretical, without a key empirical test. Here, we introduce a novel empirical approach, presenting experimental evidence that silence can be genuinely perceived (not just cognitively inferred). We ask whether silences can ‘substitute’ for sounds in event-based auditory illusions — empirical signatures of auditory event representation in which auditory events distort perceived duration. Seven experiments introduce three new ‘silence illusions’ — the one-silence-is-more illusion, silence-based warping, and the oddball-silence illusion — each adapted from a prominent perceptual illusion previously thought to arise only from sounds. Subjects were immersed in ambient noise interrupted by silences structurally identical to the sounds in the original illusions. In all cases, silences elicited temporal distortions perfectly analogous to the illusions produced by sounds. Our results suggest that silence is truly heard, not merely inferred, introducing a general approach for studying absence perception. (shrink)

The notion of recognition is an ethically potent resource for understanding human relational needs; and its negative counterpart, misrecognition, an equally potent resource for critique. Axel Honneth’s rich account focuses our attention on recognition’s role in securing basic self-confidence, moral self-respect, and self-esteem. With these loci of recognition in place, we are enabled to raise the intriguing question whether each of these may be extended to apply specifically to the epistemic dimension of our agency and selfhood. Might we talk intelligibly—while (...) staying in tune with Honneth’s concepts and their Hegelian key—of a generic idea of epistemic recognition? Such an idea might itself be seen to apply at the same three levels to indicate: first, basic epistemic self-confidence; second, our status as epistemically responsible; and third, a certain epistemic self-esteem that reflects the epistemic esteem we receive from others. The papers in this volume surely sound a chord in the affirmative, and together they steer us towards a multifaceted conception of how epistemic injustice is related to epistemic misrecognition, and indeed how we might construe a positive relation of epistemic recognition. (shrink)

How do listeners learn about the statistical regularities underlying musical harmony? In traditional Western music, certain chords predict the occurrence of other chords: Given a particular chord, not all chords are equally likely to follow. In Experiments 1 and 2, we investigated whether adults make use of statistical information when learning new musical structures. Listeners were exposed to a novel musical system containing phrases generated using an artificial grammar. This new system contained statistical structure quite different from (...) Western tonal music. Our results suggest that learners take advantage of the statistical patterning of chords to acquire new musical structures, similar to learning processes previously observed for language learning. (shrink)

Three experiments investigated the modularity of harmonic expectations that are based on cultural schemata despite the availability of more predictive veridical information. Participants were presented with prime–target chord pairs and made an intonation judgment about each target. Schematic expectation was manipulated by the combination of prime and target, with some transitions being schematically more probable than others. Veridical information in the form of prime–target previews, local transition probabilities, or valid versus invalid previews was also provided. Processing was facilitated when a (...) schematically probable target chord followed the prime. Furthermore, this effect was independent of all manipulations of veridical expectation. A solution to L. B. Meyer's (1967b) query "On Rehearing Music" is suggested, in which schematic knowledge contributes to harmonic expectation in a modular manner regardless of whether any veridical knowledge exists. (shrink)

In our times, when the pace of economic, scientific and technological, social and cultural change calls to mind the relativist velocities of contemporary physics, Einstein's criterion begins to be applicable to the historical process itself; movement can be recorded (and consequently the notion of velocity acquire meaning) provided an adequate reference system is available. Where science is concerned, such systems have always existed: historians have brought out the increase in adequate knowledge in the past by comparing it with present knowledge, (...) which then offered a system of absolute reference. But now, the theory of relativity, quantum mechanics, molecular biology and the radical transformation of standards of value in all cultural areas have made like absolutization of contemporary ideas impossible. Today ideas furnish no more than a point of departure for non-classical retrospection which, as Jaurès said, seeks the fire, not. the ashes, in the history of science. But: the fire of science, its dynamics, its movement, is inseparable from its value, its effect, its psychological ‘accompaniment.’ Contemporary science, with unprecedented dynamism, is distinguishable from classical science by its far more emotional coloring. It lays bare not only the logical collisions of knowledge but also the emotional collisions. Einstein called the history of science the ‘drama of ideas.’ A drama which sometimes turns into a tragedy. The tragic sense Lorentz was aware of in the crumbling of old conceptions is easily perceptible in the remark he made when he confessed he would have prefered to be dead before the structure of classical physics collapsed. For Erenfest the tormenting experience of a personal inability to understand the positive bases of non-classical physics was also tragic and, according to Einstein, was what drove him to suicide. Einstein's own dissatisfaction tor thirty years while he strove in the field theory alone to find a stable universal conception possessing more complete ‘internal perfection’ than the then existing solution, was again tragic. The real characteristic of the collisions of non-classical science, however, is their ambivalence: the tragic notes blend with the optimistic perception of irreversible general progress in knowledge. The collisions of knowledge and this optimistic perception together sound a very complex chord, major on the whole, but with minor harmonics. (shrink)

When Georg von der Gabelentz’s book Die Sprachwissenschaft was published, the historical-comparative paradigm was the dominant perspective in empirical linguistic enquiry, and the then current theory of language was fijirmly rooted in language psychology. While itself based in this tradition, Gabelentz’s Sprachwissenschaft nevertheless strikes another chord, which sets it apart from contemporary sources. This chapter argues that the book is particularly noteworthy for its wide-ranging bottom-up approach to linguistic phenomena and its propensity to conceive of language both as object and (...) instrument of enquiry in a sense akin to the ‘reflexive’ stance that later would become a hallmark of Edmund Husserl’s phenomenology. The ‘phenomenological mindset’ can in particular be retraced in the way a diffferent philosophy of the language sciences and theory of meaning take shape in Die Sprachwissenschaft. (shrink)

This paper considers how players of Magic: The Gathering (MTG) limited draft turn their acquired gameplay style or disposition (their MTG “gamer habitus”), with respect to drafting, into an object of knowledge. This is done in order to then consciously rework it, to respond to new formats and to the changing metagame. I will focus on a particular case study: how streamer Chord_O_Calls' instructional video shows his own re-evaluation of certain cards. Evidently, it is a process requiring reflexivity, although I (...) aim to be specific with regard to the particular “form of reflexivity” involved. I distribute this outward to the MTG “habit assemblage” (an ensemble of techniques, things, relations) and argue that any individual player's instantiation of this reflexivity involves a practice-based synthesis of paratexts from the MTG habit assemblage that is not codified but is shaped by the assemblage. This leads to a consideration of the “intelligence” and limits of not only particular habits but that of the MTG “habit assemblage” itself. I argue that the broader socio-technical significance of the form of reflexivity that is being proliferated here is one which is defined by its flexibility, by an attentional style of delayed and shifting categorization. (shrink)

The most reliable source for a reconstruction of Galileo's progress toward a science of motion is the series of undated fragmentary notes on that subject preserved in Codex A of the Galilean manuscripts at Florence. A gathering of such fragments was published by Favaro in the National Edition of Galileo's works, following the Discorsi. The more sophisticated fragments are clearly associated with the composition of that work, and show a definite and consistent understanding of acceleration. Eliminating those, it will be (...) found that the earlier notes fall into recognizable groups. First, there are some that refer to “moment of gravity”, or to the impetus of a body along a line of descent, and are associated with the discussion of inclined planes in De motu. Second, some refer to descent along arcs and chords of circles, associated with Galileo's letter of 29 November 1602 to Guido Ubaldo. These first two groups of notes do not explicitly refer to accelerated motion, and should not be assumed to do so implicity, where such an assumption can be avoided. (shrink)

As a senior physicist colleague and our friend, Robert N. Boyd, wrote in a journal (JCFA, Vol. 1,. 2, 2022), Our universe is but one page in a large book [4]. For example, things and Beings can travel between Universes, intentionally or unintentionally. In this short remark, we revisit and offer short remark to Neil’s ideas and trying to connect them with geometrization of musical chords as presented by D. Tymoczko and others, then to Escher staircase and then to (...) Jacob’s ladder which seems to point to possibility to interpret Jacob’s vision as described in the ancient book of Genesis as inter dimensional or heavenly staircase, e.g. an inter dimensional bridge between heaven and earth (see also classic book: Hofstadter, Godel, Escher, Bach). Jacob’s vision of angels going down to earth from that staircase has been depicted for instance in William Blake art etc. In our communication with others via physics literature and discussions etc, we came to several conclusions as follows: Firstly, possibility of quantum wormhole effect to mirror particle universe, which sometimes it is termed non-orientable wormhole. While such mirror particles effect have been more than 50 years predicted with the so-called parity violation (cf. Lee & Yang, 1950s), and that is called symmetry breaking. Secondly, a series of extended experiments on laser irradiated cold water may suggest possible transition from a phase of water to be at least partially fourth phase of water, which may be composed of crystalline water (see e.g. Gerald Pollack, and also Harold Aspden on liquid crystalline). If we can imagine laser cooling effect can be done in protracted time, then we can achieve a physical representation of Aspden’s liquid crystalline. Therefore, in subsequent article (Part II) we outlined simple model of such an effect of tunneling via quantum liquid crystalline Universe, which may likely be modeled with iced-water. It is interesting to remark here that certain experiments by Stockholm University scientists have shown that X-ray triggered water can exhibit properties just like liquid crystal (cf. PRL, 2020). That is why we consider it possible that there can be quantum phase transition where liquid water (comprised of iced cubes and water) can exhibit effects such as tunneling in quantum liquid crystalline Universe. Last but not least, we admit that what we outlined here is just an initial phase; and if you wish, perhaps we can call such experiments as “wormhole-at-lab” experiments (abbreviated: WHALE). (shrink)

An important suggestion of objective Bayesians is that the maximum entropy principle can replace a principle which is known to get into paradoxical difficulties: the principle of indifference. No one has previously determined whether the maximum entropy principle is better able to solve Bertrand’s chord paradox than the principle of indifference. In this paper I show that it is not. Additionally, the course of the analysis brings to light a new paradox, a revenge paradox of the chords, that is (...) unique to the maximum entropy principle. (shrink)

What Nietzsche Really Said gives us a lucid overview -- both informative and entertaining -- of perhaps the most widely read and least understood philosopher in history. Friedrich Nietzsche's aggressive independence, flamboyance, sarcasm, and celebration of strength have struck responsive chords in contemporary culture. More people than ever are reading and discussing his writings. But Nietzsche's ideas are often overshadowed by the myths and rumors that surround his sex life, his politics, and his sanity. In this lively and comprehensive (...) analysis, Nietzsche scholars Robert C. Solomon and Kathleen M. Higgins get to the heart of Nietzsche's philosophy, from his ideas on "the will to power" to his attack on religion and morality and his infamous Übermensch (superman). What Nietzsche Really Said offers both guidelines and insights for reading and understanding this controversial thinker. Written with sophistication and wit, this book provides an excellent summary of the life and work of one of history's most provocative philosophers. (shrink)

In this paper, we present two proofs of the reciprocal butterfly theorem. The statement of the butterfly theorem is: Let us consider a chord PQ of midpoint M in the circle Ω(O). Through M, two other chords AB and CD are drawn, such that A and C are on the same side of PQ. We denote by X and U the intersection of AD respectively CB with PQ. Consequently, XM = YM. For the proof of this theorem, see [1]. (...) The reciprocal of the butterfly theorem has the following statement: In the circle Ω(O), let us consider the chords PQ, AB and CD which are concurrent in the point M≠O, such as the points A and C are on the same side of the line PQ. Let X and Y respectively be the intersections of the chord PQ with AD and BC respectively. If XM = YM, then M is the middle of the chord PQ. (shrink)

In this paper Galileo’s we seek to follow Galileo’s mind as he constructs the principle of the complete isochronism of the pendulum from experimental observations and theoretical demonstrations. Our conclusion will be that the principle came from experiments with relatively small angle pendulums, coupled with a „leap“ from free fall along circular chords and ideas about the natural frequencies of physical systems. The pendulum experiments of the First and Fourth Day were, in all probability, never performed. The results claimes (...) were simply illustrations of the isochronism principle. (shrink)

Huckleberry Finn believes that by helping Miss Watson’s slave Jim escape to freedom, he is doing something wrong. But Huck does it anyway—and many want to give him moral credit for this choice. If Huck is to be worthy of such moral esteem, however, it seems there must be some implicit way of appreciating and responding to considerations as moral reasons that does not involve explicitly believing that those considerations are moral reasons. This chapter argues that an agent like Huck (...) can implicitly appreciate a consideration as a moral reason to φ by presenting it under the light of a particular phenomenologically-mediated mode of presentation: one that presents that consideration via the light of a felt directive force “pointing” towards φ-ing—lending weight to it, or soliciting it—in a particular authoritative way. Thus, I suggest, Huck may be understood on analogy with a young jazz piano virtuoso. As she may appreciate that the G-seventh chord having been played just so constitutes an aesthetic reason for her to ease into the C-major-seventh chord just so by virtue of experiencing the former as pointing or directing her to the latter, so also, I propose, Huck may appreciate the considerations speaking in favor of helping Jim as moral reasons to help Jim by virtue of experiencing them as pointing or directing him to help Jim. The chapter also examines and rejects four alternative proposals for how to account for implicit reasons-appreciation: first, a de re account of appreciation and then three additional accounts of appreciation derived from major theories of mental representation (inferentialist, causal tracking, and functionalist theories). (shrink)

This paper shows that Bertrand's proposed 'solutions' to his own question, which generates his chord paradox, are inapplicable. It uses a simple analogy with cake cutting. The problem is that none of Bertrand's solutions considers all possible cuts. This is no solace for the defenders of the principle of indifference, however, because it emerges that the paradox is harder to solve than previously anticipated.

In the long river of human history, if one person can represent the civilization of a whole nation, it is perhaps Master Kong, better known as Confucius in the West. If there is one single book that can be upheld as the common code of a whole people, it is perhaps Lun Yu, or The Analects. Surely, few individuals in history have shaped their country's civilization more profoundly than Master Kong. The great Han historiographer, Si-ma Qian, writing 2,100 years ago (...) said, "He may be called the wisest indeed!" And, as recently as 1988, at a final session of the first international conference of Nobel prize-winners in Paris, the seventy-five participants, fifty-two of whom where scientists, concluded: "If mankind is to survive, it must go back twenty- five centuries in time to tap the wisdom of Confucius." This a man whose influence in world history is truly incomparable. His sayings form the basis of a distinct social, ethical, and intellectual system. They have retained their freshness and vigor for two and a half millennia, and are still admired in today's China. Compiled by pupils of Confucius's disciples half a century after the Master's death, The Analects of Confucius laid the foundation of his philosophy of humanity--a philosophy aimed at "cultivating the individual's moral conduct, achieving family harmony, bringing good order to the state and peace to the empire. Containing 501 very succinct chapters and organized into twenty books, the collection comprises mostly dialogues between the Master and his disciples and contemporaries. The ethical tenets Confucius put forth not only became the norm of conduct for the officialdom and intelligentsia, but also profoundly impacted the behavior of the common people. The great sage's unique integration of humanity and righteousness struck a powerful chord in all who attempted to understand his moral philosophy. As translator Chichung Huang contends, "What ethical principle laid down by man could be more sensible that none which blends the best our heart can offer with the best our mind can offer as the guiding light for our conduct throughout our lives?" Ever timely, Confucius's teachings on humanity and righteousness may well serve as a ready-made cure for today's ills in an era which human beings are blinded by force and lust, not unlike Confucius's own day. Far more literal than any English version still in circulation, this brilliant new rendition of The Analects helps the reader not only to acquire and accurate and lucid understanding of the original text, but also to appreciate the imagery, imagery, parallelism, and concision of its classical style. The translator Chichung Huang, a Chinese scholar born in a family of Confucian teachers and schooled in one of the last village Confucian schools in South China, brings to this treasure of world literature a sure voice that captures the power and subtleties of the original. Vivid, simple, and eminently readable, this illuminating work makes the golden teachings of the sage of the East readily available to anyone in search of them. (shrink)

Brown, Neil The New Atheism has been a remarkable marketing phenomenon of the first decade of this century. The various authors obviously struck a modern chord in the developed world, where a steadily increasing number of people describe themselves as belonging to no religion. They would seem also to be a radically secular response in the West to the rise of militant Islam, especially since the World Trade Center attack in 2001.

In lieu of an abstract, here is a brief excerpt of the content:The Contingent Object of PsychiatryDavid McCallum (bio)Keywordsmental illness, dangerousness, law, genealogyWilson and Adhead’s plea that the British Government’s proposed new mental health legislation might entail a misappropriation of psychiatry’s true mission will strike a chord in numerous jurisdictions. Many European countries during the last northern summer will adopt mental health legislation that moves in the opposite direction to the United Nations Convention on Human Rights for persons with disabilities, (...) and will allow for compulsory mental health treatment. In this author’s home state of Victoria, Australia, the Mental Health Act has five criteria that must be met for someone to be made an involuntary patient in an institution or hospital, in the community, or in one’s own home (Victoria 2003, s.6). One of the criteria is that the person is judged to be at risk of danger to themselves or others. Once made an involuntary patient, one looses the right to refuse medical treatment. At present, in various parts of the world, medical practitioners are being required to assess a person’s level of dangerousness with immediate consequences for that person’s liberty.From the point of view of a historian of the human sciences, these events propel psychiatry into a dialogue with its recent past. The project of Western psychiatry is usually characterized as a breaking down of the walls of the old asylum that contained the lunatic in its dark recesses, and the subsequent unveiling of the mental patient thanks to the rational, liberatory practices of medicine. But modern psychiatry has also been shaped by the coming into being of particular conceptions of mental illness that are not all its own making. This entailed the removal over time of the mental defective and the mental deficient, the moral imbecile, the epileptic, the alcoholic, the chronically insane, and so on, from spaces in which psychiatry would seek to define it object—populations that psychiatry would determine to be “not amenable to treatment.” If we were to see this shaping in a Foucauldian sense, we would also want to include earlier eighteenth- and nineteenth-century separations of the lunatic and the criminal (Foucault 1965, 1979). Moreover, we might want to insist that the marking out of the modern mental health patient is first and foremost an administrative act—an act of separation and management within a bounded population—which then serves as a condition of possibility for the emergence of knowledges in psychiatric medicine, with the latter following rather than preceding the arrangement of bodies in the asylum/hospital.The psychiatrist in public medicine may well be encouraged to shape a new mission according to the requirements of an administration concerned with managing dangerousness. A shift in the social vocation of the psychiatric expert has been observed over several decades, and may represent a profound departure from the traditions [End Page 69] of mental medicine (Castel 1991). Those “dirty words”—risk assessment—involve new strategies where face-to-face relations between carer and cared are displaced by an activity of calculating abstract factors deemed liable to produce risk—“a transition from the clinic of the subject to an ‘epidemiological’ clinic” (Castel 1991, 282). The broad contours of this shift sees the specialist medical carer take a back seat while the manager/ administrator assumes a more autonomous role of allocating individuals into various categories of risk. It is in this sense that the psychiatrist does not make a diagnosis as such, but rather contributes to a list of factors compiled to measure a level of riskiness. Risk assessment forms part of social surveillance that dispenses with the actual presence of the carer and the cared, and provides for a form of systematic predetection rather than treatment. As Castel (1991, 288) presents it,(t)here is, in fact, no longer a relation of immediacy with a subject because there is no longer a subject. What the new preventative policies primarily address is no longer individuals but factors, statistical correlations of heterogeneous elements. They deconstruct the concrete subject of intervention, and reconstruct a combination of factors liable to produce risk. Their primary aim is not to confront a concrete dangerous situation, but to anticipate... (shrink)