A number of recent papers have criticized what they call the dynamical interpretation of evolutionary theory found in Elliott Sober’s The Nature of Selection. Sober argues that we can think of evolutionary theory as a theory of forces analogous to Newtonian mechanics. These critics argue that there are several important disanalogies between evolutionary and Newtonian forces: Unlike evolutionary forces, Newtonian forces can be considered in isolation, they have source laws, they compose causally in a straightforward way, and they are intermediate (...) causes in causal chains. Here we defend and extend the forces analogy by arguing that each of these criticisms is based on a misunderstanding of Newtonian forces. Our discussion also has the interesting consequence that natural selection turns out to be more similar to forces such as friction and elastic forces rather than the more canonical gravitation. (shrink)

Boundary extension is a memory phenomenon in which an individual reports seeing more of a scene than they actually did. We provide the first examination of boundary extension in individuals diagnosed with depression, hypothesising that an overemphasis on pre-existing schema may enhance boundary extension effects on emotional photographs. The relationship between boundary extension and overgeneralisation in autobiographical memory was also explored. Individuals with (n = 42) and without (n = 41) Major Depressive Disorder completed a camera paradigm task utilising positive, (...) negative, and neutral stimuli. Across all participants, positive (d = 0.37) and negative (d = 0.66) stimuli were extended more than neutral stimuli. This effect did not differ between depressed and never-depressed participants. Across all participants, images containing objects were extended more than images containing faces. An association was also evident between extension effects in memory for perceptual space and extensions of autobiographical memory across time. (shrink)

History and Philosophy of Logic, Volume 32, Issue 3, Page 292-294, August 2011.

We introduce a family of rules for adjusting one's credences in response to learning the credences of others. These rules have a number of desirable features. 1. They yield the posterior credences that would result from updating by standard Bayesian conditionalization on one's peers' reported credences if one's likelihood function takes a particular simple form. 2. In the simplest form, they are symmetric among the agents in the group. 3. They map neatly onto the familiar Condorcet voting results. 4. They (...) preserve shared agreement about independence in a wide range of cases. 5. They commute with conditionalization and with multiple peer updates. Importantly, these rules have a surprising property that we call synergy - peer testimony of credences can provide mutually supporting evidence raising an individual's credence higher than any peer's initial prior report. At first, this may seem to be a strike against them. We argue, however, that synergy is actually a desirable feature and the failure of other updating rules to yield synergy is a strike against them. (shrink)

This chapter describes the potential far‐reaching consequences of contemplative higher education for the fields of science and medicine.

" L'argent est l'envers de toutes les images que le cinéma montre et monte à l'endroit " écrit Gilles Deleuze dans le deuxième volet de Cinéma. Le capital est toujours derrière le cinéma. Le Capital hante Cinéma du début à la fin. C'est donc une lecture marxiste du diptyque composé de L'Image-mouvement et L'Image-temps que propose Jun Fujita dans Ciné-capital. Comment fonctionne le mode de production ciné-capitaliste? Comment celui-ci fait-il produire de la plus-value aux images? Pourquoi et comment s'approprie-t-il le (...) travail même du spectateur? En quel sens peut-on soutenir qu'Eisenstein et Hitchcock ont anticipé l'arrivée de la New Economy des années 1990 (dématérialisation du travail et financiarisation de l'économie)? Quand et comment les images s'insurgent-elles contre l'exploitation ciné-capitaliste? Comment se mettent-elles à valoir pour elles-mêmes? Pourquoi le cinéma politique, depuis Straub et Huillet, a-t-il cessé de privilégier le tournage au bord de la mer? Qu'est-ce qui permet à Deleuze d'affirmer qu'Ozu est un cinéaste de gauche? Telles sont quelques-unes des questions abordées dans Ciné-capital. (shrink)

Causation is one of philosophy's most venerable and thoroughly-analyzed concepts. However, the study of how ordinary people make causal judgments is a much more recent addition to the philosophical arsenal. One of the most prominent views of causal explanation, especially in the realm of harmful or potentially harmful behavior, is that unusual or counternormative events are accorded privileged status in ordinary causal explanations. This is a fundamental assumption in psychological theories of counterfactual reasoning, and has been transported to philosophy by (...) Hitchcock and Knobe (2009). A different view--the basis of the culpable control model of blame (CCM)--is that primary causal status is accorded to behaviors that arouse negative evaluative reactions, including behaviors that stem from nefarious motives, negligence or recklessness, a faulty character, or behaviors that lead to harmful or potentially harmful consequences. This paper describes four empirical studies that show consistent support for the CCM. (shrink)

Ce qu'il s'agit d'analyser, d'ausculter, c'est ce que Walter Benjamin, en 1929 déjà, décrivait comme un espace chargé à cent pour cent d'images. Autrement dit : cette visibilité saturée qui nous arrive de partout, nous entoure et nous traverse aujourd'hui. Un tel espace iconique est le produit d'une histoire : celle de la mise en circulation et de la marchandisation générale des images et des vues. Il fallait ébaucher sa généalogie, depuis les premiers ascenseurs ou escalators (ces travellings avant la (...) lettre) jusqu'aux techniques actuelles de l'oculométrie traquant les moindres saccades de nos yeux, en passant par le cinéma, grand chef d'orchestre des regards. Mais, sous-jacente à cette innervation du visible, il y a une économie propre aux images : ce qu'on tente d'appeler leur iconomie. Deleuze l'avait entrevue lorsqu'il écrivait, dans des pages inspirées par Marx : "l'argent est l'envers de toutes les images que le cinéma montre et monte à l'endroit". Une phrase que l'on n'entendra dans toute sa portée ontologique qu'à condition de se souvenir que "cinéma" veut aussi dire ici : "l'univers". C'est pourquoi, tout en se laissant guider par des séquences d'Hitchcock, de Bresson, d'Antonioni, de De Palma ou des Sopranos, ces pages voudraient frayer la voie qui conduit d'une iconomie restreinte à ce qu'on pourrait nommer, avec Bataille, une iconomie générale. (shrink)

L'espace-temps du cinéma est un piège, une bonne occasion d'ouvrir, une fois encore, la retraite de l'espace à l'empire du temps. La peinture n'avait pas le temps, le cinéma l'a pris. La " théorie ", avec André Bazin, a, pour mieux assurer cette propriété, inventé le " hors-champ ". La pensée, aujourd'hui, doit se soumettre à la règle de cette ordonnance sous peine de se retrouver " hors-jeu ". Mais le cinéma, lui, obéit-il à cette loi paternelle? Que fait-il lorsqu'il (...) s'échappe dans la cour de sa récréation? Renoir, lorsqu'il a couru tout autour de la cour, dans Le Crime de monsieur Lange, et Hitchcock, lorsqu'il a, dans Fenêtre sur cour, condamné l'imprudence d'un homme qui, à la lettre, se mêlait de ce qui ne le regardait pas, avaient-ils l'œil ailleurs? Ou encore, avec Lang ou Straub, n'avaient-ils pas compris qu'il était plus important de rajouter un " hors-d'œuvre " à leur menu que de contempler voire d'adorer la Tunique " sans couture " de la réalité? (shrink)

This article attempts to lean against the suffocating trend towards mourning, theological exegesis and close-circuit canonisation that has characterised Derrida studies in the wake of his death. On Touching is particularly brutal towards Nancy's presumption of a ‘post-deconstructive’ haptics in a manner that extends to a general discipleship (glossing Derrida's remark, ‘I am not of the family’). Summarising the entire course of Derridean ‘deconstruction’ (departing from phenomenology, recycling early studies), On Touching may be his most political monograph. Yet in cutting (...) off Nancy, Derrida at once cuts off ‘future’ extensions while turning aside from any projection of what lies beyond this then closed history except for complex references to memory machines. This essay then asks what teletechnic media already knows of the prosthetic hand and eye by turning to Hitchcock's Spellbound, where a propping-up of the senses by technics is allowed to exceed, or virtually suicide, itself. In refusing to address any ‘beyond’ of a metaphysical haptics while cutting off his own future extenders (readers, progeny), Derrida raises (yet turns from) the question of what exceeds this closed history entering 21st-century horizons. (shrink)

The paper tries to provide an alternative to Hempel’s approach to scientific laws and scientific explanation as given in his D-N model. It starts with a brief exposition of the main characteristics of Hempel’s approach to deductive explanations based on universal scientific laws and analyzes the problems and paradoxes inherent in this approach. By way of solution, it analyzes the scientific laws and explanations in classical mechanics and then reconstructs the corresponding models of explanation, as well as the types of (...) scientific laws appearing in it. Finally, it compares this reconstruction with the approaches of J. Woodward and C. Hitchcock, C. Liu and with the views of M. Thalos on analytic mechanics. (shrink)

While the initial reception of Alfred Hitchcock's Vertigo was unspectacular, it made its presence felt in a host of other films – from Chris Marker's Sans Soleil, to Brian De Palma's Obsession, and David Lynch's Mulholland Dr.. What seemed to have eluded the critics at the time is that Vertigo is a film about being haunted: by illusive images, turbulent emotions, motion and memory, the sound and feeling of falling into the past, into a nightmare. But it is also (...) a shrewdly reflexive film that haunts filmmakers, critics, and artists alike, raising fundamental questions about the ontology of moving images and the regime of fascination that churns them out. Douglas Gordon's Feature Film, D.N. Rodowick's The Wanderers, and Lynn Hershman's VertiGhost are contemporary examples of how the appropriation and contemplation of some the film's most iconic motifs, themes and strategies ask us to rethink the relation of fetishism to fabulation, and supplementarity to dissimulation and social engineering. Feature Film, The Wanderers, and VertiGhost are supplementary works, but like the original film they are about duplicity, doppelgänger, and dissimulation. What interests us is how they challenge the authority over, or even proximity to, that which returns in the form of the supplement. And ultimately, attaching themselves to the chain of forgers and forgeries, these supplementary works take their place in the vertiginous sequence of substitutions the film established: a neat allegory for a reign of the digital ghosting that Hitchcock could never have anticipated. (shrink)

Husserl und die transzendentale Intersubjektivität analyses the transcendental relevance of intersubjectivity, and argues that an intersubjective transformation of transcendental philosophy can already be found in phenomenology, especially in Husserl. Husserl eventually came to believe that an analysis of transcendental subjectivity was a conditio sine qua non for a phenomenological philosophy. Drawing on both published and unpublished manuscripts the book examines his reasons for this conviction and delivers a detailed analysis of his radical and complex concept of intersubjectivity, showing that precisely (...) his reflections on transcendental intersubjectivity are capable of clarifying his phenomenological core-concepts, thus making possible a new understanding of his philosophy. Against this background the book then attempts to establish to what extent the phenomenological approach to intersubjectivity can contribute to the current discussions of intersubjectivity. This is achieved through a systematic confrontation with the language-pragmatical positions of Apel and Habermas. Die Abhandlung untersucht die transzendentale Relevanz der Intersubjektivität und zeigt, daß eine intersubjektive Transformation der Transzendentalphilosophie schon innerhalb der Phänomenologie - besonders der Husserlschen - zu finden ist. Husserl gelangte zu der Auffassung, daß eine Analyse und Einbeziehung der transzendentalen Intersubjektivität als conditio sine qua non für eine phänomenologische Philosophie zu betrachten sei. Die Gründe, die Husserl zu dieser Überzeugung führten, werden herausgearbeitet. Dabei weist die Analyse des radikalen und komplexen Begriffs der Intersubjektivität auf, daß erst seine Überlegungen zur transzendentalen Intersubjektivität viele phänomenologische Grundbegriffe ins rechte Licht stellen können und darüber hinaus ein neues Grundverständnis seiner Phänomenologie ermöglichen. Vor diesem Hintergrund wird die Frage, inwieweit die Phänomenologie zur gegenwärtigen Intersubjektivitätsdiskussion beitragen kann, durch eine systematische Auseinandersetzung mit der sprachpragmatischen Intersubjektivitätstheorie von Apel und Habermas beantwortet. (shrink)

Introduction: how John the Baptist kept his head, or my life in film philosophy -- A philosophical perspective. Why not realize your world? -- Silence and stasis -- Film and modernity -- André Bazin as Cavellian realist -- On Stanley Cavell's band wagon -- What becomes of the camera in the world on film? -- Studies in criticism. "I never thought I would sink so low as to become an actor": John Barrymore in Twentieth century -- James Stewart in Vertigo (...) -- Hats off to George Cukor! -- Woody Allen's New York -- Blood is thicker than water: the family in Hitchcock -- Space and speech in the films of Yasujiro Ozu -- Romance, eroticism and the camera's gaze in Jean Genet's Un chant d'amour -- Face to face with Chantal Akerman -- Precious memories in philosophy and film -- Seeing the light in The tree of life -- A film that is also a handshake: philosophy in the films of the Dardenne Brothers -- Justifying justified -- Documentary film in Boston in the 1970s and 1980s -- Sometimes daddies don't talk about things like that -- Jean Rouch as film artist -- Dancing with Gardner: Robert Gardner's films on art -- Dead birds re-encountered: a journey of return -- Notes on the essays. (shrink)

Ce texte a déjà paru dans la mineure « Rythmanalyses » de la revue Multitudes, n° 46, 2011. Nous remercions la revue Multitudes et Pierre Sauvanet de nous avoir autorisé à le reproduire ici. Premier temps. Regardons pour commencer Young and Innocent : la dernière scène de ce film de jeunesse d'Alfred Hitchcock est un grand moment de cinéma — mais pas seulement. Comme souvent chez le réalisateur, la trame du film se noue autour de ce jeune homme, accusé (...) d'un meurtre qu'il n'a pas - Pour une éthique et une politique du rythme – Nouvel article. (shrink)

Ce dictionnaire propose de réunir des portraits de brutes et de mégères dans le but de s'interroger sur les causes et les raisons de cette perception négative. Pourquoi certaines figures évoquent-elles la méchanceté? Que peut nous dire cette méchanceté dénoncée de nous-mêmes et de l'époque qui l'a engendrée? Il s'agira de retracer les portraits de ceux et celles ayant marqué l'Histoire et la fiction par leur cruauté, leur perfidie, leur machiavélisme, leur art de la dissimulation ou de la manipulation. S'attarder (...) sur la méchanceté et ses possibles, décliner les façons de la penser et de la vivre, de la subir ou de l'exercer, c'est s'intéresser à une facette peu valorisée de la sensibilité d'autant plus importante que chaque individu, de près ou de loin, est amené, un jour, à se montrer méchant. La méchanceté et ses manifestations, qu'elles soient conceptuelles ou biographiques, nous invitent donc à une introspection globale, à une immersion dans les affres de la noirceur des âmes dont la bouche n'est autre que celle de la méchanceté Le champ de cette entreprise est vaste et recouvre notamment : La Malice, le Machiavélisme, Orangina Rouge, Barbe Bleue, le cinéma d'Alfred Hitchcock, Marie-Antoinette, la Mauvaise conscience, Gilles de Rais, Harry Powell (La nuit du chasseur) Salomé-Hérodiade, Dracula, Tatie Danielle, Marie Tudor, la Perversité, la Mégère Grecque, Dark Vador, Mildred Ratched (Vol au-dessus d'un nid de coucou)... (shrink)

The availability in universal grammar of two separate copulas of predication & identity is supported by an analysis of pseudoclefts in Welsh. A single-copula analysis of the ambiguity between predicational & specificational interpretations of pseudoclefts in English cannot be extended to Welsh, where specificational interpretation (1) is permitted by only one of three copular paradigms, all of which may have a predicational interpretation, & (2) is possible with both of the D-structures used in the single-copula analysis to distinguish between the (...) two interpretations in English. It is argued that the differences between English & Welsh with respect to the interpretation of copular constructions can only be explained by positing a dual-copula analysis for Welsh & a single-copula one for English; the data confirm the existence of a type-shifting functor in English that is realized lexically as a copula in Welsh. 47 References. J. Hitchcock. (shrink)

La 4ème de couverture indique : « Le portrait de Dorian Gray, exhibé dès les premières pages du livre de Wilde auquel il donne son titre, fascine d’emblée le lecteur. La lecture proposée ici souligne que ce portrait, pour ainsi dire jeté en pâture, sert d’écran ou de paravent à un autre portrait encore plus séducteur et inquiétant, en général moins remarqué, celui de la mère morte, représentée en bacchante, qui le hante secrètement. Outre L’imposture de la beauté, ce recueil (...) comprend une étude sur Le Moïse de Michel-Ange de Freud : Un autre Moïse, ou la Force de la loi ; deux lectures consacrées à Nietzsche : Nietzsche et Wagner, Nietzsche et Voltaire (Et pourtant elle tremble!) ; Un battu imbattable, à propos de Larmes de clown, du cinéaste Victor Sjöström ainsi que Angoisse et catharsis, sur The Lady Vanishes, d’Alfred Hitchcock. ». (shrink)

Screening programmes are becoming increasingly popular since prevention is considered 'better than cure'. While earlier diagnosis may result in more effective treatment for some, there will be consequent harm for others due to anxiety, stigma, side-effects etc. A screening test cannot guarantee the detection of all 'abnormal' cases, therefore there will be false reassurance for some. A proper consideration of the potential benefit and harm arising from screening may lead to the conclusion that the programme should not be offered. A (...) modified utilitarian approach may be used for allocation of scarce resources in health care. Ethics has an important role in this evaluation. (shrink)

We bring out the fact that the essential new quality implied by the quantum theory is nonlocality; i.e., that a system cannot be analyzed into parts whose basic properties do not depend on the state of the whole system. This is done in terms of the causal interpretation of the quantum theory, proposed by one of us (D.B.) in 2952, involving the introduction of the “quantum potential.” We show that this approach implies a new universal type of description, in which (...) the standard or canonical form is always supersystem-system-subsystem; and this leads to the radically new notion of unbroken wholeness of the entire universe. Finally, we discuss some of the implications of extending these notions to the relativity domain, and in so doing, we indicate a novel concept of time, in terms of which relativity and quantum theory may eventually be brought together. (shrink)

La foi et la raison. La foi, don de Dieu. La raison, don de l'homme ou don de Dieu? La foi et la raison eurent à combattre, comme si le ciel et la terre vivaient en conflit incessant. Le combat demeure, différent certes, parce que l'homme oublie ses origines sans en regarder la cause. Jean-Paul II s'est lancé dans cette épreuve, en rédigeant une encyclique, pour enfin tenter de sortir l'homme de son enfermement dialectique. Le magistère de l'Eglise catholique lui (...) en donne l'autorité et la lui demande, pour enfin réconcilier l'homme avec lui-même et avec Dieu"-- Back cover. (shrink)

Human aesthetic experiences are pervasive; they are triggered by faces, art, natural scenery, foods, ideas, theories, and decision-making situations, among many sources, and seem to be a distinctive trait of our species. Our moral sense, understood as our capacity to judge events, actions, or people as good or bad, appropriate or inappropriate, also seems to be an exclusively human endowment (Ayala 2010). As part of the scientific efforts to characterize the biological foundations of our human uniqueness, recently there has been (...) interest in the brain’s underpinnings of aesthetic reactions to art on the one hand, and in the neural correlates of moral judgment and decision-making on the other (Greene and Paxton .. (shrink)

Ambivalence is a form of inner volitional conflict that we experience as being irresolvable without significant cost. Because of this, very few of us relish feelings of ambivalence. Yet for many in the Western philosophical tradition, ambivalence is not simply an unappealing experience that's hard to manage. According to Unificationists--whose view finds its historical roots in Plato and Augustine and is ably defended by contemporary philosophers such as Harry Frankfurt and Christine Korsgaard--ambivalence is a failure of well-functioning agency. The reasons (...) for this, we're told, are threefold. First, it precludes agents from resolving their wills in a way that is necessary for autonomy. Second, it precludes agents from fully affirming their live and, in particular, from fully affirming the choices they make. As a result, ambivalence robs them of an important source of meaning. Finally, ambivalence causes agents to act in self-defeating ways. In so doing, they act without integrity. Ambivalence is thus seen as a threat to a trio of important agential goods, and as a result, it imperils the best forms of human agency. -/- Against the Unificationists, D. Justin Coates argues that ambivalence does not preclude volitional resolution or normatively significant forms of affirmation. Nor does it guarantee self-defeat. Consequently, ambivalence as such is no threat to autonomy, meaning, or integrity. In assessing these arguments, ambivalence is also revealed to have an important role in securing the very goods that unificationists contend it undermines. The reason for this is that each of these goods requires the agent to be normatively competent. But normative competence itself, Coates argues, often leads agents to be ambivalent. The best forms of human agency are therefore shown to be not only compatible with ambivalence but as regularly requiring it. Ambivalence is thus not a volitional defect, but a crucial constituent of well-functioning agency. (shrink)

An infinite lottery machine is used as a foil for testing the reach of inductive inference, since inferences concerning it require novel extensions of probability. Its use is defensible if there is some sense in which the lottery is physically possible, even if exotic physics is needed. I argue that exotic physics is needed and describe several proposals that fail and at least one that succeeds well enough.

The concept of quantum principle is introduced as a principle whose formulation is based on specific quantum ideas and notions. We consider three such principles, viz, those of quantizability, local gauge symmetry, and supersymmetry, and their role in the development of the quantum field theory (QFT). Concerning the first of these, we analyze the formal aspects and physical contents of the renormalization procedure in QFT and its relation to ultraviolet divergences and the renorm group. The quantizability principle is formulated as (...) an existence condition of a self-consistent quantum version with a given mechanism of the field interaction. It is shown that the consecutive (from a historical point of view) use of these quantum principles puts still larger limitations on possible forms of field interactions. (shrink)