On the basis of evidence drawn from the Waste book, Westfall and Nicholas have argued that Newton arrived at his second law of motion by reflecting on the implications of the first law. I analyze another argument in the Waste book which reveals that Newton also arrived at the second law by another very different route. On this route, it is the consideration of the third law and the principle of conservation of motion—and not the first law—that prompts Newton to (...) formulate the second law. The existence of these two routes is significant because each employs a distinct kind of reasoning about forces. Whereas the Nicholas–Westfall route via the principle of inertia bears the mark of Descartes’s influence, the alternative route proceeds from the action–reaction principle, which is widely regarded as an original Newtonian contribution to mechanics. In the course of exploring this alternate route to the second law, the origins and justification of the third law are examined.Keywords: Issac Newton; Waste book; Third law of motion; Second law of motion; Richard Westfall; John Nicholas. (shrink)

The history of the Euclidean Steiner tree problem, which is the problem of constructing a shortest possible network interconnecting a set of given points in the Euclidean plane, goes back to Gergonne in the early nineteenth century. We present a detailed account of the mathematical contributions of some of the earliest papers on the Euclidean Steiner tree problem. Furthermore, we link these initial contributions with results from the recent literature on the problem.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Place: Towards a Geophilosophy of Photography by Ali ShobeiriElizabeth. L. CoxPlace: Towards a Geophilosophy of Photography BY ALI SHOBEIRI Leiden, The Netherlands: Leiden University Press, 2021In his most recent work, Place: Towards a Geophilosophy of Photography, Ali Shobeiri skilfully demonstrates both the importance of, and fluid ways in which, place plays a dynamic role in the understanding and stories nestled within the seeing and evaluating of photographs and (...) photography. Bringing together the worlds of photography, geography, and philosophy to create an interdisciplinary theoretical understanding of place in relation to photography, Shobeiri has expertly unearthed a nuanced, exciting way of considering the photographic process and images.Shobeiri, an Assistant Professor of Photographic Studies and Visual Arts Theory at Leiden University, brings his knowledge and expertise of visual culture, photographic theory, human geography, and philosophy to the fore in his latest publication. His knowledge, passion, personal interest in photography, and his critical thought come through nicely in his writing, and it is clear that the development of Shobeiri’s ideas and framework have been given a lot of thought, time, and energy. This book meaningfully speaks to those interested in a discussion of place within the realm of photography, evidenced through the depth of knowledge and sheer detail explored within this book.Inspired by his own experience as a photographer and influenced by Edward Casey’s “delimited” definition of place, Shobeiri explores how place is never simply presented or fixed (11). It is here that he expertly uses photography to do this across six different yet clearly complimentary chapters. Critically, there is no way to give a succinct overview of the chapters of this book without losing meaning and diluting Shobeiri’s message; the book is rich, deeply detailed, embedded within philosophical thought, and is nuanced throughout, which is important to remember when reading this non- fiction piece of work.In the first chapter, Shobeiri provides a phenomenological exploration of the importance of the photographer’s body both as a lived experience and a physical entity. He then juxtaposes this duality to the lived [End Page 136] place of the photograph, returning to the notion of fixedness and using the idea of belonging to explore the photographer’s body and the photographic experience as a lived place. The next chapter discusses spatiality and time, and the way in which space is temporalized, using key influences such as Roland Barthes and Susan Collins to illustrate the argument. Central to this is the idea that a photograph captures time, but also aims at space, which raises questions about what this means for the space before the lens. In chapters 3 and 4, the author argues that the photograph itself travels through space, and highlights the importance of the photographic place, allowing us to “bestow meaning upon that space on the photograph’s surface” (67). Interestingly, Shobeiri points to philosophy to help the reader understand this, such as Jacques Derrida, and uses more familiar images and scholarly thought from NASA to discuss blind field and the liminality of photographic place. Chapter 5 moves away from location and journeys the reader to a discussion of places viewed as moment of encounter, specifically considering the spectator and the photograph. This evolves further in the sixth and final chapter insofar as it explores the transition and translation of the photographed place to the communication of the content of the image and the agency of the photograph. Shobeiri finishes with a simple yet engaging epilogue, several helpful notes, and a plethora of references which are useful for further reading.Place: Towards a Geophilosophy of Photography is genuinely interesting, centred within academic scholarship, and employs the thought of theorists that readers of Environment, Space, Place will undoubtably recognise. Scholarly figureheads such as Jacques Derrida, Alain Badiou, and Michel Foucault, space and place authorities such as Tim Cresswell, Tim Ingold, and Doreen Massey, and art aficionados such as Roland Barthes, Susan Collins, and John Berger frequent the pages. Familiar artistic names are also drawn upon, including Ansel Adams, Gert Jan Kocken, and Gerhard Richter, which soften the strong academic tones that this book voices. This work is clearly sophisticated in terms of lexicon and ideas, however... (shrink)

In this article I try to give an account of the meaning of phrases of the form ‘A causes B’ as they are most usefully used in everyday life and the applied sciences. This account covers narrower uses of such phrases, but we find that in our usage of the term, ‘A causes B’ neither entails nor is entailed by ‘A is always followed by B’. Logically necessary and sufficient conditions of this general term can be given, however, by reference (...) to particular cases of causation. The analysis of these is shown to be irreducibly counter-factual, i.e. such phrases are not definable in terms of statements describing those observable occurrences which constitute the relevant verificationary processes. Some objections to the analysis are considered, and it is tested against various examples. * Received 6.xii.65 1 This article is an expanded version of a paper read to the British Society for the Philosophy of Science at Bristol in September 1964. I have greatly benefited from criticisms and suggestions by members of the philosophy seminar of the University of Durham, especially Dr Doreen Bretherton, and also by Professor J. L. Mackie and the editor and referees of this Journal. (shrink)

The term fuzzy logic is used in this paper to describe an imprecise logical system, FL, in which the truth-values are fuzzy subsets of the unit interval with linguistic labels such as true, false, not true, very true, quite true, not very true and not very false, etc. The truth-value set, , of FL is assumed to be generated by a context-free grammar, with a semantic rule providing a means of computing the meaning of each linguistic truth-value in as a (...) fuzzy subset of [0, 1].Since is not closed under the operations of negation, conjunction, disjunction and implication, the result of an operation on truth-values in requires, in general, a linguistic approximation by a truth-value in . As a consequence, the truth tables and the rules of inference in fuzzy logic are (i) inexact and (ii) dependent on the meaning associated with the primary truth-value true as well as the modifiers very, quite, more or less, etc. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Otto Rudolph Ortmann, Music Philosophy, and Music EducationDavid J. GonzolWhat is music? What should we teach when we teach music? How should we? In the early twentieth century, these most foundational questions relating to music education were addressed by the highly regarded, though less well known, educator and researcher, Otto Rudolph Ortmann. In 1922, he published an article in which he outlined a theory of musical experience, developing aspects (...) of the physics of sound, qualitative theory, and Gestalt psychology, prefiguring important ideas in music philosophy. Ortmann highly valued his theory, utilized it in other research throughout his career, and influenced others such as Carl Seashore. Few, however, seem to be aware of his work or its implications for music education.1The seminal 1922 article, "The Sensorial Basis of Music Appreciation," was written while Ortmann was teaching at the Peabody Conservatory of Music and Johns Hopkins University in Baltimore, Maryland.2 While this article has received little attention, much of his other research has been widely and well received.3 "Papa Ortmann," well beloved of family and students, had a career Gerig characterized as "a wedding between Materia Medica and Frau Musica."4 A prolific [End Page 160] researcher, superb musician, and excellent teacher, he published articles on music theory (one of which was reprinted and extended in 1983), musicology, music reading, ear training, synesthesia, and jazz.5 His research on piano performance, particularly his two books,6 is regarded as definitive; it has been discussed in a thesis and four dissertations; some of it has been replicated. In Famous Pianists and Their Technique, Gerig devoted a chapter to Ortmann.7 Ortmann's theory of listening types, in effect a theory of music cognition,8 was accepted by Robert Neidlinger, Doreen Rao, and Bennett Reimer.9 In the 1992 Handbook of Research on Music Teaching and Learning, F. R. Wilson and F. L. Roehmann praised the significance of Ortmann's body of research as undiminished in importance in music education.10It may be that Ortmann's "Sensorial Basis"theory received little attention at the time because too few were interested in such theories or in the synthesizing of science and psychology or the touching on philosophy that he employed. Although he influenced Seashore, the philosophical issues he began to explore would be developed more strongly only decades later, by philosophers such as Monroe Beardsley, Peter Kivy, and Jerrold Levinson. It seems that Ortmann's theory not only prefigures some ideas in recent music philosophy, but supports them as well. If it does, then our increased understanding of music can provide a firmer basis for developing better music education-one of Ortmann's aims. In this article I will describe his theory, sketch how it aligns with subsequent research, and consider its value today. Ortmann attempted a comprehensive explanation of music's nature; as far as his explanation is accurate, that far it can help us understand music and in turn music education.Three "Attributes"At the turn of the 1900s, it was popular to refer to "attributes" of sound. Ortmann posited that all sensation, including sound, has three types of attributes. The primary attribute he termed extensity, by which he meant the breadth of the sensation that is perceived. Extensity has three forms, transtensity (frequency), intensity (strength), and protensity (duration). These can be perceived individually but also as sound's secondary attributes, chief of which is quality. Tertiary attributes of sound are made through association, either by (a) contiguity, linking a sound's quality with things experienced near in time to the sound, or by (b) similarity, associating the quality with sensations of like extensity (for example, the expressive brightness of a sound and a light). Ortmann believed that tertiary attributes form "the threshold of musical imagination, and imagination in turn, of musical enjoyment."11 Accordingly, he concluded that music could express many things, and that this is dependent on listeners, their individual histories, and their entire field of sensations. [End Page 161]The Primary Attribute of ExtensityIn the Renaissance, Benedetti and Galileo found that pitch was related to frequency, and in 1702, Sauveur was the first to state that overtones affect timbre. In 1863, Helmholtz... (shrink)

US Supreme Court rulings concerning sanctions for juvenile offenders have drawn on the science of brain development and concluded that adolescents are inherently less mature than adults in ways that render them less culpable. This conclusion departs from arguments made in cases involving the mature minor doctrine, in which teenagers have been portrayed as comparable to adults in their capacity to make medical decisions. I attempt to reconcile these apparently incompatible views of adolescents’ decision-making competence. Adolescents are indeed less mature (...) than adults when making decisions under conditions that are characterized by emotional arousal and peer pressure, but adolescents aged 15 and older are just as mature as adults when emotional arousal is minimized and when they are not under the influence of peers, conditions that typically characterize medical decision-making. The mature minor doctrine, as applied to individuals 15 and older, is thus consistent with recent research on adolescent development. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

'Anita L. Allen breaks new ground...A stunning indictment of women's status in contemporary society, her book provides vital original scholarly research and insight.' |s-NEW DIRECTIONS FOR WOMEN.

Understanding a proposition for an intelligent agent is an important epistemic concept. We first discuss intuitively general logic characteristics of understanding, and give a language and a semantics containing understanding as a modal operator. Secondly, we develop the system LU for the operator, give some results of its proof theory, and then we prove the frame soundness and frame completeness of LU.

When speaking of pre-Qin Dynasty theories on human nature, past scholars divided Confucius, Mencius and Xunzi into three categories, and they tended to divide the theories into moral categories of good and evil. The discovery of bamboo and silk sheets from this period, however, has offered some valuable literature, providing a historical opportunity for the thorough research of pre-Qin Dynasty theories on human nature. Based on the information on the recently excavated bamboo and silk sheets, especially the essay titled “Xing (...) Zi Ming Chu” on bamboo sheets unearthed in Guodian, this essay examines pre-Qin Dynasty theories on human nature from a new perspective. In doing so, it looks forward to a breakthrough in academic patterns of thought which typically defined pre-Qin Dynasty theories on human nature as good or evil, and thus a closer look at the original appearance of pre-Qin Dynasty theories on human nature as a whole. (shrink)

This paper argues that forgiveness is not best understood in terms of waiving a requirement of justice, and, specifically, that forgiveness is distinct from mercy. I question some reasons philosophers have given for distinguishing forgiveness and mercy, but argue that the difference between the two notions can be clearly shown by considering the standard grounds for which they are granted. I argue that while mercy involves leniency in the infliction of punishment that is due in accordance with justice, forgiveness primarily (...) concerns the victim's feelings and attitudes towards the wrongdoer as a person. South African Journal of Philosophy Vol. 27 (1) 2008 pp. 1-9. (shrink)

jild-i 1. Āzādī va marzʹhāyash -- jild-i 2. Istiqlāl (farhangī).

J. L. Ackrill; VIII*—Aristotle's Definitions of Psuche, Proceedings of the Aristotelian Society, Volume 73, Issue 1, 1 June 1973, Pages 119–134, https://doi.org.

Kitāb al-ʻibar. Muqaddimah by Ibn Khaldūn, 1332-1406; criticism and interpretation.

Averroës, 1126-1198; Islamic philosophy.

Pickering & Garrod's (P&G's) integrated model of production and comprehension includes no explicit role for nonlinguistic cognitive processes. Yet, how domain-general cognitive functions contribute to language processing has become clearer with well-specified theories and supporting data. We therefore believe that their account can benefit by incorporating functions like working memory and cognitive control into a unified model of language processing.

This volume brings together a collection of essays on the history and philosophy of probability and statistics by one of the eminent scholars in these subjects. Written over the last fifteen years, they fall into three broad categories. The first deals with the use of symmetry arguments in inductive probability, in particular, their use in deriving rules of succession. The second group deals with four outstanding individuals who made lasting contributions to probability and statistics in very different ways: Frank Ramsey, (...) R. A. Fisher, Alan Turing, and Abraham de Moivre. The last group of essays deals with the problem of 'predicting the unpredictable' - making predictions when the range of possible outcomes is unknown in advance. The essays weave together the history and philosophy of these subjects and document the fascination that they have exercised for more than three centuries. (shrink)

In _Ontological Terror_ Calvin L. Warren intervenes in Afro-pessimism, Heideggerian metaphysics, and black humanist philosophy by positing that the "Negro question" is intimately imbricated with questions of Being. Warren uses the figure of the antebellum free black as a philosophical paradigm for thinking through the tensions between blackness and Being. He illustrates how blacks embody a metaphysical nothing. This nothingness serves as a destabilizing presence and force as well as that which whiteness defines itself against. Thus, the function of blackness (...) as giving form to nothing presents a terrifying problem for whites: they need blacks to affirm their existence, even as they despise the nothingness they represent. By pointing out how all humanism is based on investing blackness with non-Being—a logic which reproduces antiblack violence and precludes any realization of equality, justice, and recognition for blacks—Warren urges the removal of the human from its metaphysical pedestal and the exploration of ways of existing that are not predicated on a grounding in Being. (shrink)