Previous research has shown that the perception that one’s partner is investing effort in a joint action can generate a sense of commitment, leading participants to persist longer despite increasing boredom. The current research extends this finding to human-robot interaction. We implemented a 2-player version of the classic snake game which became increasingly boring over the course of each round, and operationalized commitment in terms of how long participants persisted before pressing a ‘finish’ button to conclude each round. Participants were (...) informed that they would be linked via internet with their partner, a humanoid robot. Our results reveal that participants persisted longer when they perceived what they believed to be cues of their robot partner’s effortful contribution to the joint action. This provides evidence that the perception of a robot partner’s effort can elicit a sense of commitment to human-robot interaction. (shrink)

Štúdia interpretuje udalostnú hermeneutiku francúzskeho fenomenológa Clauda Romana, ktorú postuloval v publikáciách Udalosť a svet, Udalosť a čas a Tam je, a to cez prizmu umeleckej skúsenosti. Štúdia si kladie za cieľ interpretovať pojmy ako udalosť, advenant, ex-per-iancia, rekonfigurácia a ničota a poukázať na ich súvislosť s umením. Pracovná téza je: Advenant býva umelecky. Cieľom štúdie tak nie je len analýza a pred-stavenie Romanovho diela, ale aj vyzdvihnutie tendencií smerujúcich k chápaniu udalosti a advenanta v umeleckých kontúrach. Štúdia preto analyzuje (...) autorov kontext, ktorý tvorí fenomenologická hermeneutika, predovšetkým diela Martina Heideggera a Henriho Maldineya. V súvislosti s rekonfiguratívnym aspektom advenantovho bytia sa v štúdii stáva ústredným konceptom pojem figúry, z ktorého následne vyplýva problém herectva. (shrink)

Štúdia interpretuje udalostnú hermeneutiku francúzskeho fenomenológa Clauda Romana, ktorú postuloval v publikáciách Udalosť a svet, Udalosť a čas a Tam je, a to cez prizmu umeleckej skúsenosti. Štúdia si kladie za cieľ interpretovať pojmy ako udalosť, advenant, ex-per-iancia, rekonfigurácia a ničota a poukázať na ich súvislosť s umením. Pracovná téza je: Advenant býva umelecky. Cieľom štúdie tak nie je len analýza a pred-stavenie Romanovho diela, ale aj vyzdvihnutie tendencií smerujúcich k chápaniu udalosti a advenanta v umeleckých kontúrach. Štúdia preto analyzuje (...) autorov kontext, ktorý tvorí fenomenologická hermeneutika, predovšetkým diela Martina Heideggera a Henriho Maldineya. V súvislosti s rekonfiguratívnym aspektom advenantovho bytia sa v štúdii stáva ústredným konceptom pojem figúry, z ktorého následne vyplýva problém herectva. (shrink)

Daniel Marcelle, Aron Gurwitsch, The Collected Works of Aron Gurwitsch, Volume I: Constitutive Phenomenology in Historical Perspective, Dordrecht: Springer, 2009; Volume II: Studies in Phenomenology and Psychology, Dordrecht: Springer, 2010; Volume III: The Field of Consciousness: Theme, Thematic Field, and Margin, Dordrecht: Springer, 2010; Claudia Șerban, Jean-Luc Marion, Certitudes negatives, Paris: Grasset, 2010; Christian Rössner, Hans-Dieter Gondek, László Tengelyi, Neue Phanomenologie in Frankreich, Berlin: Suhrkamp, 2011; Daniel Dwyer, Hans-Helmuth Gander, Husserl-Lexikon, Darmstadt: Wissenschaftliche Buchgesellschaft, 2010; Délia Popa, Jean-François Lavigne, Acceder au (...) transcendantal? Reduction et idealisme transcendantal dans les Idées directrices pour une phénoménologie pure et une philosophie phénoménologique de Husserl, Paris: Vrin, 2009; Mădălina Diaconu, Lambert Wiesing, Das Mich der Wahrnehmung. Eine Autopsie, Frankfurt am Main: Suhrkamp, 2009; Mădălina Diaconu, Sam B. Girgus, Levinas and the Cinema of Redemption. Time, Ethics, and the Feminine, New York: Columbia University Press, 2010; Rolf Kühn, Frédéric Seyler, ≪ Barbarie ou culture ≫ : L’ethique de l’affectivitedans la phenomenologie de Michel Henry, Paris: Kimé, 2010; Stephan Steiner, Mette Lebech, On the Problem of Human Dignity. A Hermeneutical and henomenological Investigation, Würzburg: Königshausen & Neumann, 2009. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Crises of Memory and the Second World WarPatrick HenryCrises of Memory and the Second World War, by Susan Rubin Suleiman; x & 286 pp. Cambridge: Harvard University Press, 2006. $29.95.This excellent study deals widely and deeply with the crises of memory and World War II but generally focuses on France, Vichy and the Holocaust. The author defines a crisis of memory as "a moment of choice and sometimes (...) of predicament or conflict, about remembrance of the past, whether by individuals or by groups" (p. 1). In the crises of memory she examines, "individual self-representation overlaps with... collective self-representation" in such a way that individual remembrance takes on collective significance. In nine rich chapters of textual analysis of mostly self-consciously literary texts, Suleiman deftly analyzes writers from the left and the right, two films of tremendous import, the nature of Holocaust memoirs, experimental writing and the concepts of trauma, amnesia, amnesty, testimony and forgiveness.In the first three chapters, Suleiman studies French memories of the Occupation, the collaborationist Vichy regime and the Resistance from 1945 to the present. These chapters depict the relations between history and memory and highlight the intriguing process of the evolution of public remembrance. Chapter one, "Choosing Our Past," surprises even the most careful reader of Jean-Paul Sartre's plays and novels, for it demonstrates brilliantly that, in several of his very early post-Vichy essays where he conveniently passes over in silence France's collaborationist past—even the major role played by Vichy police in the roundup and deportation of Jews—he helped create, along with de Gaulle and others, the myth of "Resistancialism," the founding myth of the post-Vichy [End Page 204] Period, the idea that all Frenchmen resisted the Nazis. In the words of Pierre Nora, Sartre and de Gaulle were "writing history from the point of view of the future" (p. 17).In chapter two, the author analyzes the 1997 "Aubrac Affair," exposing the problems that the Resistance heroes, Lucie and Raymond Aubrac, encountered when they were suddenly suspected of having betrayed Jean Moulin, whose 1964 enshrinement in the Pantheon is examined in chapter three within the context of the politics of national memory in France. Whereas Moulin's enshrinement marked the apex of the myth of "Resistancialism" in France, the "Aubrac Affair" comes fifty-four years after the betrayal of Jean Moulin and twenty-five years after the myth of "Resistancialism" began to fade. In treating the charges and countercharges in the "Aubrac Affair," which continues to fascinate because it illustrates "the problematic relation between public and private memory, and between history and fantasy in the construction of both an individual and a collective past" (p. 61), Suleiman highlights the problems of narrative verisimilitude and the narrative tendency toward heroic aggrandizement as well as its opposite, the desire to topple heroes.In chapter four, Suleiman studies Marcel Orphuls's Hotel Terminus: The Life and Times of Klaus Barbie, a four-hour documentary of great significance that remains relatively unknown when compared with his earlier film, The Sorrow and the Pity. Barbie was the infamous Nazi war criminal, known as "the Butcher of Lyon," who tortured and deported hundreds of Jews and tortured to death the great French Resistance hero, Jean Moulin. He was extradited from Bolivia to France in 1983 where he was tried for crimes against humanity in 1987. Orphuls's film exposes the conflicted memories and partisanships produced by WWII and the Holocaust in public and private spaces throughout Europe and the Americas. This chapter will undoubtedly convince others of the film's importance. It will certainly convince the reader of Suleiman's ability to read film. She explains in detail Orphuls's method of "dialectical montage" (already evident in The Sorrow and the Pity) whereby he cuts up individual interviews and juxtaposes them with parts of others that often qualify or simply contradict what has been stated. This is why his films are "interactive documentaries" that "force the viewer into uncomfortable subject positions in relation to the material" (p. 87). No voice-over or "voice of God" commentary comes to aid the viewer who is forced to evaluate critically... (shrink)

Gabriel Marcel’s thought is deeply informed by the American philosophical tradition. Marcel’s earliest work focused upon the idealism of Josiah Royce. By the time Marcel completed his Royce writings, he had moved beyond idealism and adopted a form of metaphysical realism attributed to William Ernest Hocking. Marcel also developed a longstanding relationship with the American philosopher Henry Bugbee. These important philosophical relationships will be examined through the Marcellian themes of ontological exigence, intersubjective being, and secondary reflection. (...) Marcel’s relationships with these philosophers are not serendipitous. They are expressions of Marcel’s deep Christian faith. (shrink)

In Gabriel Marcel and American Philosophy, David W. Rodick investigates Gabriel Marcel's relationship to classical American philosophy—more specifically, to Josiah Royce's idealism, William James's radical empiricism, William Ernest Hocking's empiricism, and Henry G. Bugbee's experiential naturalism—to provide Marcel scholars and scholars of classical American philosophy with a fruitful perspective for understanding Marcel's thought. He also seeks to capture Marcel's dynamic and concrete approach to philosophizing along with examining its "relevance to the contemporary world—a world in (...) which philosophy, confined to the ivory tower, remains at risk of becoming somewhat of a caricature of itself". In... (shrink)

This book examines the philosophy of Gabriel Marcel and its relationship to key figures in classical American philosophy, in particular Josiah Royce, William Ernest Hocking, and Henry Bugbee.

In lieu of an abstract, here is a brief excerpt of the content:The Dramatization of Absolute Idealism:Gabriel Marcel and F. H. BradleyJoseph GamacheI. IntroductionThis paper consists of an observation, a suggestion, and an illustration. First, the observation: in the English-language literature on the philosophy of Gabriel Marcel, there is, so far as I have discovered, a lack of attention paid to the relationship between Marcel and the British philosopher F. H. Bradley (1846–1924).1 Why might be this be? (...) I speculate (this is not the suggestion previously advertised) that the following are possible reasons for this omission. First, Bradley's influence is neglected in favor of what some might regard as the more obvious influence of Josiah Royce (1855–1916). After all, Marcel wrote a series of articles on Royce early in his career that were subsequently published as a monograph and eventually translated into English as Royce's Metaphysics. Second, there is the confluence of narratives concerning Marcel's philosophical development and the dethronement of Bradley and of idealism by figures such as Russell and Moore. According to the former narrative, Marcel's idealist phase ends with the first part of the Metaphysical Journal (about 1915).2 Since Bradley is less widely read these days and is treated simply as one more (even if the chief) representative of British idealism, it is easy to infer that, when he shed his idealism, Marcel also shed any connection with Bradley.But all that I have achieved thus far is the articulation of two reasons why people interested in Marcel have not also been interested in Bradley. Are there any reasons to believe that Marcel was influenced by Bradley in a positive way? Here, we can do no better than to gather some selected texts. In his preface to the English translation of the Metaphysical Journal, Marcel writes: [End Page 17]Meditations on the implications of the word "with" and on metaphysical fruitfulness must in my opinion be counted among the most valuable contributions of the Metaphysical Journal. Later, in the collected writings published under the title Du Refus à l'invocation [translated into English as Creative Fidelity], I was to submit to similar analyses the relations, or rather the super-relations, implies by the French word "chez." Here, unless I am mistaken, I made use of the word super-relation for the first time. The vigorous criticism made by F. H. Bradley (in Appearance and Reality) of the current notion of relation—considered as a pure makeshift—is there extended, and I think I will be never be able to recognize too explicitly what I owe to that great thinker.(Marcel, Metaphysical Journal xii)In the foreword to his pre-Metaphysical Journal works published as Philosophical Fragments 1909–1914, Marcel writes of his early (idealist) phase:I find it hard to understand today how, during the years immediately following the reception of my aggregation degree, and even after having had the privilege of hearing Henri Bergson at the College de France, I could still feel the need to undertake a groping inquiry in such a rarefied atmosphere and with the help of tools borrowed from post-Kantian philosophy. Bradley—I had read Appearance and Reality—should have helped me shake off the strait jacket in which my thought was so tightly bound.(Marcel, Philosophical Fragments 23)In addition to these quotations, I might also add (a) that Marcel had wanted to write a thesis on Bradley, but that the idea had already been claimed by a fellow student (Marcel, Awakenings 74; "Autobiographical Essay" 18), and (b) the existence of a correspondence between Marcel and Bradley in the year 1920, which includes Marcel's sharing with Bradley his articles on Royce.3 Putting this all together, the following picture emerges. Bradley influenced Marcel as a student and in his idealist years, and beyond his idealist years, as the above references suggest.So much for the observation; now for the suggestion. I suggest that Marcel can be read as, in various places throughout his corpus, dramatizing certain Bradleyan themes, thereby drawing out the ontological weight—to use Marcel's phrase—of Bradley's philosophical positions. There is some evidence for this suggestion in Marcel's self-reflection in The Existential... (shrink)

Those who are already familiar with Henry Bugbee's written work will almost invariably have encountered it first through his 1958 text The Inward Morning, subtitled A Philosophical Exploration in Journal Form. This book, which originally appeared with an introduction by the French existential philosopher Gabriel Marcel, was reissued in a 1999 edition thanks to Edward F. Mooney, who served as editor and added a new introduction of his own. In the volume under review, David W. Rodick brings more of (...) Bugbee's work back into print, a development that will surely be appreciated by admirers and newcomers alike. Or, in Rodick's own words, the aim of Wilderness in America is "to remove... (shrink)

Henri Bergson is generally recognized as one of the most influential philosophers in the history of historical avant-gardism. Nevertheless, it has been widely neglected that Bergson’s philosophy also played a crucial role for the radically new concept of art that Marcel Duchamp developed based on his critical attitude towards the avant-gardes. First and foremost, this is apparent in view of Duchamp’s paintings The Passage from Virgin to Bride and Bride of 1912, as they both feature an idea of (...) transition laying the foundation for his Large Glass and associated works. But there is also another cross-connection that one wouldn’t expect at the first glance. As this paper argues, Duchamp paradoxically also draws on Bergson’s ideas with his ready-mades, pointing to that productive interplay of intuition and intellect, which Bergson defined as a vital source for any kind of imagination and agency. Thus, Duchamp’s idea of choosing his ready-mades in terms of a “rendezvous with fate,” which he also reflected in his writing experiments The and Rendezvous, can be closely linked to his declared interest in Bergson’s “primacy of change,” leading him to explore the idea of “plastic duration.”. (shrink)

Only one volume has reached us to mark the centenary of Bergson's birth. Is this significant? If a writer lives to an advanced age his centenary usually falls at a time when fashion has turned against him, and the consequent attitudes are perhaps more interestingly gleaned from comparitively informal assessments than from carefully timed publications. In the Nouvelles Littéraires of October 22,1959, there appeared, almost a hundred years to the day after Bergson's birth, a reported discussion on his philosophy between (...) Gaston Berger, Gabriel Marcel, Henri Gouhier, Jean Brun and a young “normalien” Dominique Janicaud.The talk, presumably more or less spontaneous, was naturally desultory. The older participants could always compensate for implicit misgivings by falling back on affectionate personal recollections, and the youngest would perhaps have preferred not to have to say anything at all. The most cogent general estimate was probably M. Jean Brun's, when he described Bergson as in effect making a stand against the danger of specialist appropriation of the dismembered fragments of philosophy by the various branches of science. We have seen this very nearly come about in England, where a fairly narrow linguistic and logical sector alone has been held with any feeling of conviction. What is here exemplified is the difference of outlook on any question that the English Channel makes. I once heard an English professor of English literature say that when reading Emile Legouis' History of English Literature he had some difficulty in persuading himself that his own professional speciality was being dealt with. It is not difficult to see how this comes about. What one nation takes for granted appears to another as excitingly significant. (shrink)

Only one volume has reached us to mark the centenary of Bergson's birth. Is this significant? If a writer lives to an advanced age his centenary usually falls at a time when fashion has turned against him, and the consequent attitudes are perhaps more interestingly gleaned from comparitively informal assessments than from carefully timed publications. In the Nouvelles Littéraires of October 22,1959, there appeared, almost a hundred years to the day after Bergson's birth, a reported discussion on his philosophy between (...) Gaston Berger, Gabriel Marcel, Henri Gouhier, Jean Brun and a young “normalien” Dominique Janicaud.The talk, presumably more or less spontaneous, was naturally desultory. The older participants could always compensate for implicit misgivings by falling back on affectionate personal recollections, and the youngest would perhaps have preferred not to have to say anything at all. The most cogent general estimate was probably M. Jean Brun's, when he described Bergson as in effect making a stand against the danger of specialist appropriation of the dismembered fragments of philosophy by the various branches of science. We have seen this very nearly come about in England, where a fairly narrow linguistic and logical sector alone has been held with any feeling of conviction. What is here exemplified is the difference of outlook on any question that the English Channel makes. I once heard an English professor of English literature say that when reading Emile Legouis' History of English Literature he had some difficulty in persuading himself that his own professional speciality was being dealt with. It is not difficult to see how this comes about. What one nation takes for granted appears to another as excitingly significant. (shrink)

The article addresses the problem, which has not yet been analyzed in the Polish philosophical and anthropological literature, and which deals with the subject of unknowability or invisibility of God in the contemporary French phenomenology of religion. The text focuses on the ideas of transcendence, immanence and mystery as developed and further elucidated by Emmanuel Lévinas, Michel Henry and Gabriel Marcel. The author deduces from the philosophical discourse on the three concepts that the transcendence and immanence are the ideas (...) which unilaterally carry out the tasks set for them by their authors, which is “to protect” God from objectification to which the phenomenological method leads when applied to the problem at stake, in particular, as it was presented by Edmund Husserl. Not only Lévinas and Henry were in opposition to this method but so was Marcel. who had used the concept of mystery for the same reason. According to the author of the article, neither the transcendence nor the immanence but the concept of mystery is the one which «protects» God the most efficiently against objectification. From the phenomenology of religion point of view the most important thing is that in Marcel’s thought God does not appear as a phenomenon, and yet that does not exclude the religious relationship between Man and God. According to Lévinas and Henry this biblically understood relation cannot exist even though their concepts also have relatively strong foundations in the Bible. Therefore, the author of the text believes that the Marcelian concept of mystery meets the expectations of a believer better than the Lévinasian concept of transcendence and the Henrian idea of immanence. The concept of God as the Mystery as developed by Gabriel Marcel allows man to enter into a religious relationship with God by the means of prayer. (shrink)

Marcel Proust once wrote: “truth will be attained . . . when [the writer] takes two different objects, states the connection between them . . . and encloses them in the necessary links of a well-wrought style . . . within a metaphor.” Inspired in part by Henri Bergson (1859–1941), whom Megan Craig’s Levinas and James identifies as the primary link between William James (1842–1910) and Emmanuel Levinas (1906–1995), Proust’s words might well apply to Craig’s own book, which (...) employs a well-wrought style to bring into conversation its titular thinkers, and, in turn, the respective traditions of American pragmatism and French phenomenology with which they are associated. Aiming to “show the expansive space for new work .. (shrink)

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_ (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than (...) dismiss or negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

Henri Bergson is widely regarded as one of the most original and important philosophers of the twentieth century. His work explored a rich panoply of subjects, including time, memory, free will and humor and we owe the popular term élan vital to a fundamental insight of Bergson's. His books provoked responses from some of the leading thinkers and philosophers of his time, including Einstein, William James and Bertrand Russell, and he is acknowledged as a fundamental influence on Marcel (...) Proust. The Bergsonian Mind is an outstanding, wide-ranging volume covering the major aspects of Bergson's thought, from his early influences to his continued relevance and legacy. 36 chapters by an international team of leading Bergson scholars are divided into five clear parts: Sources and Scene Mind and World Ethics and Politics Reception Bergson and Contemporary Thought. In these sections fundamental topics are examined, including time, freedom and determinism, memory, perception, evolutionary theory, pragmatism and art and aesthetics. Bergson's impact beyond philosophy is also explored in chapters on Bergson and spiritualism, modernism, Proust and post-colonial thought. An indispensable resource for anyone in Philosophy studying and researching Bergson's work, The Bergsonian Mind will also interest those in related disciplines such as Literature, Religion, Sociology and French studies. (shrink)

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_, a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss (...) or negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

According to Gabriel Marcel, no task is more important and more complex than looking for ways of confronting and overcoming despair. Therefore, the search for the essence of hope is the objective of this paper. Reference is made to the theme of the open soul in Henri Bergson’s, Gabriel Marcel’s, and Jan Patočka’s works. Such a soul is not centred in itself; moreover, according to Marcel, hope and soul are intrinsically linked together. Hope opens people towards (...) the future. The concept of hope in the biblical context is shown briefly, according to which hope is in God (Ps 62:5), while God is coming to man. At the same time, biblical texts sketch a pathway to hope, setting out from suffering through endurance and character (Rom 5:3–4). The paper stresses that hope takes root in dialogue and that a person is empowered to adopt hope as a gift. (shrink)

" Vivid . . . immense clarity . . . the product of a brilliant and extremely forceful intellect." — Journal of the Royal Naval Scientific Service "Still a sheer joy to read." — Mathematical Gazette "Should be read by any student, teacher or researcher in mathematics." — Mathematics Teacher The originator of algebraic topology and of the theory of analytic functions of several complex variables, Henri Poincare (1854–1912) excelled at explaining the complexities of scientific and mathematical ideas to (...) lay readers. Science and Method, written in 1908, has been appreciated by a wide audience of nonprofessionals and translated into many languages. It defines the basic methodology and psychology of scientific discovery, particularly in regard to mathematics and mathematical physics. Drawing on examples from many fields, it explains how scientists analyze and choose their working facts, and it explores the nature of experimentation, theory, and the mind. 1914 edition. Translated by Francis Maitland. (shrink)

"Science et méthode" de Henri Poincaré. Mathématicien, physicien et philosophe français (1854-1912).

THE VALUE OF SCIENCE INTRODUCTION The search for truth should be the goal of our activities; it is the sole end worthy of them. Doubtless we should first bend our efforts to assuage human suffering, but why ? Not to suffer is a negative ...

ABSTRACT The article analyzes the subject of musical listening of time in Vladimir Jankélévitch philosophy, seeking to assess what is the phenomenal proof alleged by Jankélévitch to support the thesis that musical listening of time carries the same properties as Henri Bergson’s concept of durée. We conclude that (1) Jankélévitch’s temporal descriptions are not sufficient to sustain that listening to music is equivalent to listening to the properties of durée, and that (2) this fact implies a problem both for (...) the maxim “music is the art of time” and for the general capacity of Bergsonism, verified in other authors, to founding a philosophy of music. (shrink)

" Vivid . . . immense clarity . . . the product of a brilliant and extremely forceful intellect." — Journal of the Royal Naval Scientific Service "Still a sheer joy to read." — Mathematical Gazette "Should be read by any student, teacher or researcher in mathematics." — Mathematics Teacher The originator of algebraic topology and of the theory of analytic functions of several complex variables, Henri Poincare (1854–1912) excelled at explaining the complexities of scientific and mathematical ideas to (...) lay readers. Science and Method, written in 1908, has been appreciated by a wide audience of nonprofessionals and translated into many languages. It defines the basic methodology and psychology of scientific discovery, particularly in regard to mathematics and mathematical physics. Drawing on examples from many fields, it explains how scientists analyze and choose their working facts, and it explores the nature of experimentation, theory, and the mind. 1914 edition. Translated by Francis Maitland. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The article by Dupras and Bunnik. makes a fundamental contribution in the context of the current boom in personalized medicine. We propose an additional crit...

On the nature of mathematical reasoning -- Mathematical magnitude and experience -- Non-Euclidian geometries -- Space and geometry -- Experience and geometry -- Classical mechanics -- Relative and absolute motion -- Energy and thermodynamics -- Hypotheses in physics -- Theories of modern physics -- Probability calculus -- Optics and electricity -- Electrodynamics -- The end of matter.

This paper assesses the prospects of combining the distinctive strengths of the two major educational research programs of critical thinking and critical pedagogy—or, described more accurately, overcoming their shared limitations—in a new and superior educational objective called criticality. Several recent proposals explore the possibilities of engaging in bridge-building between these camps. The plan is that the distinctive strengths of these paradigms—the logical and epistemological precision of critical thinking together with the socio-political consciousness of critical pedagogy—could complement each other, while the (...) associated adjustments to the overall picture could also help us to address their shared shortcomings. This gives us a new and more grounded educational goal of criticality, as suggested and developed independently by a growing number of thinkers. This article joins the ongoing conversation but provides a more counterreactionary tone by striving to vindicate the traditional mainstream conception of critical thinking. I maintain that despite their admirable ambitions, the various expressions of criticality do not succeed in combining the best parts of critical thinking and critical pedagogy, since on a deep metatheoretical level these two paradigms have irreconcilable core principles. First, I argue that the depiction of the failures of critical thinking used to motivate criticality is to a large degree a straw man: in actuality, the existing conceptualization of critical thinking can already do the desired extra socio-political educational work, so there really is no pressing need for the suggested augmentations. Second, the traditional worries of indoctrination, which have followed critical pedagogy since the inception of this educational movement, still remain unresolved within criticality. The only way to address this concern successfully is to lean on critical thinking as the core of our educational theory, bringing us right back to where we started. (shrink)

Most human societies have undergone much greater change over the last few decades, or even years, than in the preceding millennia. This is partly due to the emergence of various phenomena in medici...