In this empirical paper, Jay, Stone, Meksin, Merck, Gordon and Hirst examine whether jury deliberations, in which individuals collaboratively recall and discuss evidence of a trial, shape the jurors’ memories. In doing so, Jay and colleagues provide a highly ecologically valid baseline for future investigation into why, how and when selective recall either facilitates remembering or leads to forgetting during jury deliberations. In particular, Jay et al. explore the specific social and cognitive mechanisms that might lead to either memory (...) facilitation (RIFA – Retrieval Induced Facilitation) and forgetting (RIF ‐ Retrieval Induced Forgetting) during jury deliberation. (shrink)

A special issue of_ New German Critique_ The posthumous publication of Theodor W. Adorno’s works on music continues to reveal the special relationship between music and philosophy in his thinking. These important works have not, however, received as much scholarly attention as they deserve. Contributors to this issue seek to provide insight into some of the key themes raised in these works, including the sociology of musical genre, the historical transformation of music from the "heroic" or high-bourgeois era to late (...) modernity, the meaning of both performance and listening in the era of mass communication, and the specific challenges or deformations of the radio on musical form, a theme that implicates many of the digital practices of our own age. There is much left to discover in these new publications, and they pose again, with renewed vigor, the question of Adorno’s _Aktualität_—his polyvalent, untranslatable term for, among other things, the intellectual relationship between the present and the past. Contributors Daniel K. L. Chua, Lydia Goehr, Peter E. Gordon, Martin Jay, Brian Kane, Max Paddison, Alexander Rehding, Fred Rush, Martin Scherzinger. (shrink)

Since its founding in 1943, Medievalia et Humanistica has won worldwide recognition as the first scholarly publication in America to devote itself entirely to medieval and Renaissance studies. Since 1970, a new series, sponsored by the Modern Language Association of America and edited by an international board of distinguished scholars and critics, has published interdisciplinary articles. In yearly hardbound volumes, the new series publishes significant scholarship, criticism, and reviews treating all facets of medieval and Renaissance culture: history, art, literature, music, (...) science, law, economics, and philosophy. (shrink)

We introduce a dynamic model for evolutionary games played on a network where strategy changes are correlated according to degree of influence between players. Unlike the notion of stochastic stability, which assumes mutations are stochastically independent and identically distributed, our framework allows for the possibility that agents correlate their strategies with the strategies of those they trust, or those who have influence over them. We show that the dynamical properties of evolutionary games, where such influence neighborhoods appear, differ dramatically from (...) those where all mutations are stochastically independent, and establish some elementary convergence results relevant for the evolution of social institutions. (shrink)

The cosmos is filled with evil that seemingly has no redeeming value. Granted, some evils do lead to greater goods, sometimes goods that could not exist without the evils. Thus, the exercise of courage is a good that requires either an actual evil to stand firm in the face of or the illusion of an evil—and an illusion is a kind of evil, too. But many evils appear to serve no such purpose. Philosophers call an evil that a supremely good (...) God would have insufficient reason to permit to exist a gratuitous evil. A particularly powerful form of the argument from evil against the existence of the God of Western monotheism is, thus, that there.. (shrink)

We report the identification of a recurrent, 520-kb 16p12.1 microdeletion associated with childhood developmental delay. The microdeletion was detected in 20 of 11,873 cases compared with 2 of 8,540 controls and replicated in a second series of 22 of 9,254 cases compared with 6 of 6,299 controls. Most deletions were inherited, with carrier parents likely to manifest neuropsychiatric phenotypes compared to non-carrier parents. Probands were more likely to carry an additional large copy-number variant when compared to matched controls. The clinical (...) features of individuals with two mutations were distinct from and/or more severe than those of individuals carrying only the co-occurring mutation. Our data support a two-hit model in which the 16p12.1 microdeletion both predisposes to neuropsychiatric phenotypes as a single event and exacerbates neurodevelopmental phenotypes in association with other large deletions or duplications. Analysis of other microdeletions with variable expressivity indicates that this two-hit model might be more generally applicable to neuropsychiatric disease. © 2010 Nature America, Inc. All rights reserved. (shrink)

I shall defend Augustine’s holistic aesthetic response to the problem of evil by considering the variety of ways in which our vision of the cosmos is limited and how this is similar to the kinds of limitations on viewing a work of art that would make negative criticism unreasonable. At the same time, I identify an interesting asymmetry: we may be justified in making positive, but not negative, judgments about the creator’s skill on the basis of a mere partial perception.

I shall defend Augustine’s holistic aesthetic response to the problem of evil by considering the variety of ways in which our vision of the cosmos is limited and how this is similar to the kinds of limitations on viewing a work of art that would make negative criticism unreasonable. At the same time, I identify an interesting asymmetry: we may be justified in making positive, but not negative, judgments about the creator’s skill on the basis of a mere partial perception.

In this article the concept of God as creativity (rather than as “the Creator”) is explored. Though creativity is a profound mystery to us humans, it is a plausible concept today because of its interconnectedness with the belief that our cosmos is evolutionary: new orders of reality come into being in the course of time. Three modalities of creativity are explored here: the initial coming into being of the universe (the Big Bang); the creativity manifest in evolutionary processes; the human (...) creation of culture. It is suggested that this creativity itself should be thought of as God: God is creativity. Thus God-talk is given a referent that is specifiable in terms of today’s understandings of the world and the human. God remains a profound mystery here, but one with a significant place in our modern understanding of the world and human life. (shrink)

This volume contains the Arabic translations of a lost treatise by Alexander of Aphrodisias "On the Principles of the Universe" with English translation, introduction and commentary. It also includes an Arabic and Syriac glossary. The introduction and commentary deal in detail with the manuscripts, the translators and the exegetical tendencies of the text, as well as with its reception in Arabic philosophy. The main theme of the work is the motion of the heavenly bodies and their influence on the (...) physical world. (shrink)

This thesis examines the alethic modal concepts of possibility and necessity. It is argued that one cannot do justice to all our modal talk without possible worlds, i.e., complete ways that a cosmos might have been. I argue that not all of the proposed applications of possible worlds succeed but enough remain to give one good theoretical reason to posit them. The two central problems now are: What feature of reality makes correct alethic modal claims true and What are possible (...) worlds? ;David Lewis makes possible worlds be concretely existing universes. Unfortunately, I show Lewis's account involves set-theoretic, ethical, inductive and probabilistic paradoxes, and commits Lewis to an objectionable form of primitive modality that governs the choice of the counterpart relation. The most promising contemporary alternatives to Lewis's theory have been the worlds of Adams and Plantinga constructed out of Platonic entities such as maximal collections of consistent propositions. However, these approaches fail to provide a satisfactory answer to the question of what makes true modal claims true. I also criticize some alternative accounts. ;Finally, I discuss and combine two historical approaches. The first is an Aristotelian approach that says a non-actual event is possible is to say that some actual substances could have initiated a causal chain that could lead up to the event in question. However, it can be shown that some plausible global possibility claims can be made true on this account only if there is a necessarily existent first cause capable of initiating very different universes. On the other hand, Leibniz made possible worlds be ideas in the mind of an omniscient necessarily existent deity. Leibniz fails to explain what it is that makes these possible worlds possible, but if we were willing to combine his story with the conclusion drawn from the Aristotelian one, we could get the following story: Possible worlds are ideas in the mind of an omniscient deity and what makes them possible is that this deity has the Aristotelian capability of initiating causal chains that can lead to them being actualized. (shrink)

The comment endorses and reinforces Daniel W. Graham’s highly original and attractive proposal that early Greek cosmology develops in two stages. In what Graham calls the “meteorological stage” of the sixth century BCE, celestial objects are explained as formations either from fire or from watery exhalations in a roughly planar model of the cosmos. In the “lithic stage” of the mid- and late fifth century introduced by Anaxagoras, the model is that of a central earth around which solid stone-like celestial (...) objects revolve held aloft in a vortex. The change to the lithic stage comes about, according to Graham, as the implications of Parmenides’ epoch-making discovery that the moon is illuminated by the sun come to be understood and are then theoretically exploited. The present comment also proposes that the false explanations of lunar phases and lunar and solar eclipses in the meteorological-stage cosmologies, respectively, of Xenophanes and of Heraclitus may have played a helpful heuristic role in the theoretical breakthrough to heliophotism. (shrink)

We will give a new cosmological argument for the existence of a being who, although not proved to be the absolutely perfect God of the great Medieval theists, also is capable of playing the role in the lives of working theists of a being that is a suitable object of worship, adoration, love, respect, and obedience. Unlike the absolutely perfect God, the God whose necessary existence is established by our argument will not be shown to essentially have the divine perfections (...) of omnipotence, omniscience, omnibenevolence, and sovereignty. Furthermore, it is not even shown that he is contingently omnipotent and omniscient, just powerful and intelligent enough to be the supernatural designer-creator of the exceedingly complex and wondrous cosmos that in fact.. (shrink)

Plato's entire fictive world is permeated with philosophical concern for Eros, well beyond the so-called erotic dialogues. Several metaphysical, epistemological and cosmological conversations - Timaeus, Cratylus, Parmenides, Theaetetus and Phaedo - demonstrate that Eros lies at the root of the human condition and that properly guided Eros is the essence of a life well lived. This book presents a holistic vision of Eros, beginning with the presence of Eros at the origin of the cosmos and the human soul, surveying four (...) types of human self-cultivation aimed at good guidance of Eros and concluding with human death as a return to our origins. The book challenges conventional wisdom regarding the 'erotic dialogues' and demonstrates that Plato's world is erotic from beginning to end: the human soul is primordially erotic and the well-cultivated erotic soul can best remember and return to its origins, its lifelong erotic desire. (shrink)

It is well known that we owe the term ‘aesthetics’ in its philosophical sense to the 18th century German philosopher Alexander Baumgarten. The eighteenth century's interest in aesthetics, however, pre-dated the invention of the term. In 1725, Francis Hutcheson published an Inquiry into the Original of Our Idea of Beauty and Virtue. This may be said to be the first sustained and significant work in philosophical aesthetics as we now know it. Hutcheson's volume preceded Baumgarten's by 10 years, and (...) within Scotland it inaugurated a series of philosophical writings on taste and beauty that continued for almost a century. Contributors included major philosophical figures like David Hume, Thomas Reid and Adam Smith, as well as influential figures less well known today such as Alexander Gerard, George Turnbull and Lord Kames. (shrink)

Beginning with Sir William Hamilton's revitalisation of philosophy in Scotland in the 1830s, Gordon Graham takes up the theme of George Davie's The Democratic Intellect and explores a century of debates surrounding the identity and continuity of the Scottish philosophical tradition. Gordon Graham identifies a host of once-prominent but now neglected thinkers - such as Alexander Bain, J. F. Ferrier, Thomas Carlyle, Alexander Campbell Fraser, John Tulloch, Henry Jones, Henry Calderwood, David Ritchie and Andrew Seth Pringle-Pattison (...) - whose reactions to Hume and Reid stimulated new currents of ideas. Graham concludes by considering the relation between the Scottish philosophical tradition and the 20th-century philosopher John Macmurray. (shrink)

The Timaeus, a decidedly non-erotic dialogue, provides surprising philosophical insight into the role and importance of eros in human life. Contrary to manytraditional readings of the dialogue, the Timaeus indicates that eros is an original part of the disembodied soul as created by the demiurge, and as such, is part of the noetic or intelligent design of the cosmos. Timaeus reveals, furthermore, that eros is the moving force behind our desire to know first causes and the noetic world, that eros, (...) like the senses and emotions, needs to be trained and guided toward its proper objects, and that eros is distinct from appetitive desires in the mortal soul. (shrink)

The Timaeus, a decidedly non-erotic dialogue, provides surprising philosophical insight into the role and importance of eros in human life. Contrary to manytraditional readings of the dialogue, the Timaeus indicates that eros is an original part of the disembodied soul as created by the demiurge, and as such, is part of the noetic or intelligent design of the cosmos. Timaeus reveals, furthermore, that eros is the moving force behind our desire to know first causes and the noetic world, that eros, (...) like the senses and emotions, needs to be trained and guided toward its proper objects, and that eros is distinct from appetitive desires in the mortal soul. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 97-103 [Access article in PDF] MoMA as Educator: The Legacy of Alfred H. Barr, Jr. Ralph A. Smith Professor Emeritus University of Illinois at Urbana-Champaign Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art by Sybil Gordon Kantor. Cambridge: The MIT Press, 2002, xxv, 472 pp., $39.95. ISBN 0-262-11258-2 Sybil Kantor's history of the intellectual origins (...) of the Museum of Modern Art (MoMA) is an engaging account of Alfred Barr, Jr.'s, pivotal role in acquainting an American audience with the modernist movement in art that had developed in Europe and the Soviet Union in the first part of the twentieth century. Scrupulously documented, Kantor's narrative relies heavily on interviews with Barr's contemporaries, his publications, and his extensive correspondence. She also limns portraits of major figures who either influenced his ideas or were instrumental in establishing MoMA. Although the book is very informative about modern art, according to its author it is not intended to be strictly a history of that art. Rather, it is devoted to Barr's early development, his personal characteristics, his attitude toward the cultural and political climate of the times, his definitions of modernism and formalism, and finally, his legacy.Kantor traces Barr's career through the decade of the 1920s, which culminated in his being named the first director of MoMA in 1929; the expansive years of the 1930s and 1940s when, as Kantor puts it, Barr and the museum were at full throttle; and the later years when Barr was relieved of his director's responsibilities to allow him to spend more time on writing and the mounting of exhibitions. He retired from the museum in 1967, began to show signs of ill health in the mid-1970s, and died at the age of 79 in 1981. The Early Years Barr began his studies in the history of art at Princeton where he took courses with Frank Jewett Mather, who taught about modern art, and with Charles Rufus Morey, a distinguished medievalist whose teaching ranged beyond the architecture and sculpture of the Middle Ages to the other arts of that era. Morey's example of comprehensiveness would later stimulate Barr to think along similar lines about modern art and the organization of MoMA. At Harvard's graduate school Barr learned the skills of connoisseurship and museum management from Paul Sachs whose students went on to become directors of major museums across America. Sachs also encouraged Barr's interest in modern art and provided him with numerous letters of [End Page 97] introduction to scholars and museum directors — and occasionally withfunds for his travels.1 Lincoln Kirstein was a close friend, art critic, and earlyally, while Henry-Russell Hitchcock, Walter Gropius, and Philip Johnson significantly affected Barr's understanding of architecture. A large cast of artists, patrons, collectors, writers, trustees, and editors of "little magazines"(so-called because of their relatively small numbers of readers) also enter the scene and play various roles. A few words are in order about Barr himself who, Kantor says, exhibited more rebelliousness, a larger vision, and greater discipline than most of those around him. Barr the Man Kantor portrays a mind and sensibility possessed of exceptional discernment for the new, the difficult, and the worthwhile in the art of the early twentieth century. Barr's feeling for order, organization, and clarity of relations; his commitment to perfection, freedom, and truth; and his faith in the capacity of modern art to overcome prejudices and improve the taste of Americans are not merely reflections of the disciplinary habits inculcated by Barr's Presbyterian upbringing. They also reveal the classical tastes acquired through his art-historical studies and echo the temper of the age.The time — the 1920s through the 1940s — valued both the rationalism of science with its methods of problem solving and the insights of psychoanalysis with its probing of the irrational. Belief in the inevitable progress promised by advances in technology was, however... (shrink)

Alexander von Humboldt: Counternarrative of a dissenter? Content Type Journal Article DOI 10.1007/s11016-010-9514-0 Authors Andreas W. Daum, History Department, 570 Park Hall, State University of New York at Buffalo, Buffalo, NY 14260, USA Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

Ante la fragmentariedad de las ciencias particulares desarrolladas por el hombre en vísperas del siglo XXI, la obra Cosmos de Humboldt tiene dos puntos interesantes: (a) la sinopsis de los variados y nuevos conocimientos de entonces, y (b) la intención de definir el lugar del hombre en el Cosmos. Una relectura de Humboldt se hace necesaria para conocer su actitud frente a la dispersión del saber, la cual evitaría tener una visión de conjunto del sentido del todo. La tesis de (...) la autora en la primera parte es que dicha concepción se inscribe en el paradigma científico elaborado en la tradición del llamado neovitalismo. Con base en lo anterior, la segunda parte se centra en la relación entre naturaleza y espíritu. (shrink)

Gordon Kaufman's theology is characterized by a heightened tension between transcendence, expressed as theocentrism, and immanence, expressed as theological naturalism. The interplay between these two motifs leads to a contradiction between an austerity created by the conjunction of naturalism and theocentrism, on the one hand, and a humanized cosmos which is characterized by a pivotal and unique role for human moral agency, on the other. This paper tracks some of the influences behind Kaufman's program (primarily H. Richard Niebuhr and (...) Henry Nelson Wieman) and then utilizes the flat ontology that emerges in the work of philosopher/sociologist of science Bruno Latour and of environmental philosopher Timothy Morton in order to point toward a reconstructed immanent theocentrism that no longer stakes meaning and value on the unique place of the human. Such a theology remains theocentric, but is now fully ecological. (shrink)

To study the influence of divinity on cosmos, Alexander uses the notions of ‘fate’ and ‘providence,’ which were common in the philosophy of his time. In this way, he provides an Aristotelian interpretation of the problems related to such concepts. In the context of this discussion, he offers a description of ‘nature’ different from the one that he usually regards as the standard Aristotelian notion of nature, i.e. the intrinsic principle of motion and rest. The new coined concept is (...) a ‘cosmic’ nature that can be identified with both ‘fate’ and ‘divine power,’ which are the immediate effect of providence upon the world. In the paper it is exposed how the conception of providence defended by Alexander means a rejection of the divine care of the particulars, since the divinities are only provident for species. Several texts belonging to the Middle Platonic philosophers will convince us that such thinkers (and not directly Aristotle) are the origin of the thesis that will be understood as the conventional Aristotelian position, namely that divinity only orders species but not individuals. (shrink)

In the years after the first circulation of Sidereus Nuncius, Galileo’s Padua anti-Copernican colleague, the staunch Aristotelian philosopher, Cesare Cremonini, published a book on ‘traditional’ cosmology, Disputatio de coelo in tres partes divisa which puzzled the Roman authorities of the Inquisition and the Index much more than any works on celestial novelties and ‘neo-Pythagorean’ astronomy. Cremonini’s disputation on the heavens has the form of an over-intricate comment of Aristotle’s conceptions, in the typi­cally argumentative style of Scholasticism. Nonetheless, it immediately raised (...) the concern of Cardinal Bellarmin, the Pope and other Inquisitors. At a close reading, Cremonini’s interpretation of Aristotle’s cosmos proved radically anti- Christian. It represented a radicalization of Pomponazzian Alexandrism. In fact, Cremonini did not only circulate Aristotelian principles used by Pom­ponazzi to argue for the soul’s mortality. He also wiped away all transcendence from the Aristotelian cosmos. In fact, he marginalized the function of the motive Intelligences by explaining heavenly motions through the action of animal-like inseparable souls although he did not erase nor reduced all Intelligences to only one, in accordance with Alexander. Also, he put at the center of Aristotle’s cosmos the idea of its eternity, a thesis which he explicitly connected with the rejection of the idea of God the Creator. Cremonini assumed that the univer­sal efficiens, that is the efficient cause of all motion and change in the world, is nothing but the first heaven. As a result of this radically naturalist reading of Aristotle, he banned God from the cosmos, reduced Him to the final cause of the world, and deprived Him of any efficiency and will. This essay on less ex­plored sources of Renaissance astronomical debates considers the institutional, cultural and religious setting of Cremonini’s teaching and conceptions. It as­sesses the reasons for his troubles with the religious authorities, and the politi­cal support he was granted by the Serenissima Republic of Venice inspite of the scandalous opinions he circulated as a university professor. My reconstruction of his views is based on the Disputatio de coelo of 1613 and later works, which are directly connected with cosmo-theological polemics with the religious au­thorities: his Apologia dictorum Aristotelis de quinta coeli substantia and the unpublished book De coeli efficientia, two manuscript copies of which are preserved in the libraries of Padua and Venice. (shrink)

Viruses and pandemics are part of an overarching ecological theme that encompasses not only climate and plants, but all forms and conditions of life. This requires a far-reaching change in perspective. Not only does biodiversity, following Alexander von Humboldt, form a common “cosmos” across the globe, but we humans are also part of it. This natural sphere corresponds to Arendt’s concept of the “world” on the social and political sphere. Cosmos and world take the place of the old irreconcilable (...) separation of nature/barbarism and culture/civilization. Consequently, the threat to cosmos and world does not come from nature but from man-made devastation. Biodiversity and human plurality can only thrive with the principles of environmental/political sustainability. (shrink)