Scientific peer reviewers play an integral role in the grant selection process, yet very little has been reported on the levels of participation or the motivations of scientists to take part in peer review. The American Institute of Biological Sciences developed a comprehensive peer review survey that examined the motivations and levels of participation of grant reviewers. The survey was disseminated to 13,091 scientists in AIBS’s proprietary database. Of the 874 respondents, 76% indicated they had reviewed grant applications in the (...) last 3 years; however, the number of reviews was unevenly distributed across this sample. Higher review loads were associated with respondents who had submitted more grant proposals over this time period, some of whom were likely to be study section members for large funding agencies. The most prevalent reason to participate in a review was to give back to the scientific community and the most common reason to decline an invitation to review was lack of time. Interestingly, few suggested that expectation from the funding agency was a motivation to review. Most felt that review participation positively influenced their careers through improving grantsmanship and exposure to new scientific ideas. Of those who reviewed, respondents reported dedicating 2–5% of their total annual work time to grant review and, based on their self-reported maximum review loads, it is estimated they are participating at 56–87% of their capacity, which may have important implications regarding the sustainability of the system. Overall, it is clear that participation in peer review is uneven and in some cases near capacity, and more needs to be done to create new motivations and incentives to increase the future pool of reviewers. (shrink)

BackgroundFunding agencies have long used panel discussion in the peer review of research grant proposals as a way to utilize a set of expertise and perspectives in making funding decisions. Little research has examined the quality of panel discussions and how effectively they are facilitated.MethodsHere, we present a mixed-method analysis of data from a survey of reviewers focused on their perceptions of the quality, effectiveness, and influence of panel discussion from their last peer review experience.ResultsReviewers indicated that panel discussions were (...) viewed favorably in terms of participation, clarifying differing opinions, informing unassigned reviewers, and chair facilitation. However, some reviewers mentioned issues with panel discussions, including an uneven focus, limited participation from unassigned reviewers, and short discussion times. Most reviewers felt the discussions affected the review outcome, helped in choosing the best science, and were generally fair and balanced. However, those who felt the discussion did not affect the outcome were also more likely to evaluate panel communication negatively, and several reviewers mentioned potential sources of bias related to the discussion. While respondents strongly acknowledged the importance of the chair in ensuring appropriate facilitation of the discussion to influence scoring and to limit the influence of potential sources of bias from the discussion on scoring, nearly a third of respondents did not find the chair of their most recent panel to have performed these roles effectively.ConclusionsIt is likely that improving chair training in the management of discussion as well as creating review procedures that are informed by the science of leadership and team communication would improve review processes and proposal review reliability. (shrink)

Analytic semantics got its start when Frege pointed out differences in cognitive content between sentences that in some good sense “say the same.” Frege put cognitive content (in the form of sense) at the heart of semantic content. Most prefer nowadays to see cognitive contents as generated by semantic contents in context; a sentence's cognitive significance is an aspect rather of the information imparted by its use. I argue for a particular version of this idea. Semantic contents generate cognitive contents (...) by operating levers in a larger piece of machinery, involving also the presupposition P one is leaning on and the subject matter M under discussion. A sentence's cognitive content is what its literal-content-restricted-to-P-worlds says about M. It's by triggering different presuppositions and/or different subject matters that coreferential names make their distinctive mark on a sentence's felt information value. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.4 (2003) 369-372 [Access article in PDF] Unity of Agency and Volition:Some Personal Reflections Stephen Weiner The issues of unity of agency, self-as-narrative, and more generally, volition are highly personal to me. Indeed, I would say I have frequently been obsessed with them. I am 52 years old, and date the onset of my psychiatric symptoms—my long-term misery—very specifically: 11:00 pm Pacific Standard Time, (...) August 28, 1965. At almost precisely that time, I started obsessing that I was homosexual and, in fact, turning into a girl. Within days, derealization followed: for instance, the houses in my neighborhood seemed one-dimensional—they seemed as though they were painted, as though I could stick my hand or an object through them. Colors seemed less bright as well—but I hardly had words for all this at the time: it was an overwhelmingly preverbal feeling, but I found some words for it.I was also depressed, and knew I was depressed—that is, I was worried, had trouble sleeping, and had suicidal thoughts and feelings. Within weeks, I asked my parents if I could see a psychiatrist, and I did. I remember asking my psychiatrist if he ever thought about the possibility that everything might be an illusion, and he quoted the refrain from "Row, Row, Row Your Boat": "merrily, merrily, merrily, merrily, life is but a dream." But just asking him produced a chilling feeling that he did not exist and, largely for this reason, I did not mention unreality feelings again to therapists for another 20 years.So, like Dr. Wells' patient Edward, described by James Phillips (2003), I was in trouble; like Edward, I was starting to construct a narrative. I started feeling that I had "to tell my story" at about this time—before then, I had not felt a need to do that. That may be partly because young children take life for granted (at least, I did), and it may be partly because suffering, by its very nature, demands explanation; both reasons were probably operating—certainly, both my parents told me years later that I had seemed emotionally distressed as a child, and my mother told they would have given me Ritalin if it had been available. So, to other people (my parents and my teachers) I was mentally ill in some sense, and I have some pretty clear memories of what I now recognize as depression, especially in the second and third grades; but I did not think of myself as sick and I did not think of myself as suffering—and I did not experience the duality (at least) of selves that I started to experience almost immediately in August 1965.Phillips further points out that the "future Edward" could look back in his narrative, at a later age, and reconstruct his history either as someone with a continuing mental illness, or as someone who had attained a secure, healthy adulthood and saw his experience as adolescent pain in the service of ultimate adult health and integration. I see my story, I am sorry to report, as [End Page 369] one of unremitting basic pain but with the positive dimension that I was able to go on, obtain a good education, work a good deal in my adult life, and father a child. But my narrative—and am I not, as a highly verbal person, almost constrained to think of my life as a narrative?—has been one, as Phillips (following Kleinman) realizes, of suffering. It is, above all else, an illness narrative. I find the approach of J. Melvin Woody (2003)—of privileging performing and performing arts and spatial metaphors over story—less relevant and true to myself, although I see no reason to argue with Mary's preference for such forms. It may be that the temporal discontinuities she has experienced predispose her to see herself in such terms—may, in fact, necessitate doing so. I am not exactly sure why, but it probably has to do with acting, with trying on and performing one role... (shrink)

There was a man of the Pharisees, named Nicodemus, a ruler of the Jews: the same came to Jesus by night…John 3: 1–2A lady asked the famous Lord Shaftesbury what religion he was of. He answered the religion of wise men. She asked, what was that? He answered, wise men never tell.Diary of Viscount Percival , i, 113NEWTON AS HERETICIsaac Newton was a heretic. But like Nicodemus, the secret disciple of Jesus, he never made a public declaration of his private (...) faith – which the orthodox would have deemed extremely radical. He hid his faith so well that scholars are still unravelling his personal beliefs. His one-time follower William Whiston attributed his policy of silence to simple, human fear and there must be some truth in this. Every day as a public figure and as the figurehead of British natural philosophy, Newton must have felt the tension of outwardly conforming to the Anglican Church, while inwardly denying much of its faith and practice. He was restricted by heresy laws, religious tests and the formidable opposition of public opinion. Heretics were seen as religiously subversive, socially dangerous and even morally debased. Moreover, the positions he enjoyed were dependent on public manifestations of religious and social orderliness. Sir Isaac had a lot to lose. Yet he knew the scriptural injunctions against hiding one's light under a bushel. Newton the believer was thus faced with the need to develop a modus vivendi whereby he could work within legal and social structures, while fulfilling the command to shine in a dark world. This paper recovers and assesses his strategies for reconciling these conflicting dynamics and, in so doing, will shed light on both the nature of Newton's faith and his agenda for natural philosophy. (shrink)

Modern Hume scholarship is still divided into two major camps when it comes to the issue of causation. There are those scholars who interpret Hume as a causal anti-realist, and there are those who interpret him as a causal realist. In my paper, I argue that there is an overwhelming amount of evidence – especially textual evidence – that should lead us to read Hume as being a causal anti-realist. That is to say, one who believes that cause and effect (...) relations are felt and known in the mind of the perceiver alone; not in objects themselves. I then attempt to settle, at least partially, the ‘two definitions of cause dispute’ that was brought about by Hume’s giving us not one, but two non-equivalent and non-substitutable definitions of the cause and effect relation. (shrink)

This paper is a conceptual essay rooted in two basic observations. First, felt dignity—the subjective sense people have of their own autonomy and self-worth—ultimately emerges from, and is thus most evident in the connective space between people. Second, stories are everyday works of art that afford unique insight into the subtle complexities of the socio-emotional realities of work. Building on these observations, we describe how personal stories about episodes of interpersonal connections and disconnections at work—moments in which we feel (...) mutual appreciation and empowerment or a sense of separation and distancing from another—can help us better understand the felt experience of dignity at work. In attending to such personal stories as art, we become more attuned to their felt, aesthetic qualities, which then helps us develop a more holistic and visceral appreciation of how actors experience, make sense of, and claim felt dignity. In support of our ideas, we present a few illustrative story excerpts and briefly consider how a select few aesthetic qualities—the way the stories’ elements are configured, the stories’ acuity or sharpness, and their rawness—enhance the felt impact of the stories and help to remind us of their and the storytellers’ intrinsic value. (shrink)

William James’s radical empiricism and pragmatism constitutes a philosophy that can reconcile the split between intrinsic value theorists, who stress the development and relevance of theoretical axiology, and pragmatists who have favored a more direct emphasis on environmental policy and application. By distinguishing James’s emphasis on direct personal experience from John Dewey’s more socialized approach, James’s distinctive emphasis on the transformative possibilities of pure experience and his links to romantic sensibility enable us to articulate and validate the noninstrumental aspects of (...) experienced environmental values that anti-pragmatists habitually regard pragmatism as unable to speak for. Using James’s framework to explicate and support Anthony Weston’s radically noninstrumental “immediate values” better expresses the felt noninstrumental worth of nature than intrinsic value theory can. Nonetheless, a rapprochement between the two sides is possible: although James’s pragmatic naturalism is the framework that can best capture nature’s experienced noninstrumental worth and link it to wider human values, intrinsic value theory has real practical application in the realm of law, and pragmatists can support it in that domain, thus upholding the primary emphasis on practicality and policy that is usually seen as pragmatism’s main strength. (shrink)

IN THE PRELUDE to Middlemarch, George Eliot lamented the unfulfilled lives of talented women: Some have felt that these blundering lives are due to the inconvenient indefiniteness with which the Supreme Power has fashioned the natures of women: if there were one level of feminine incompetence as strict as the ability to count three and no more, the social lot of women might be treated with scientific certitude. Eliot goes on to discount the idea of innate limitation, but while (...) she wrote in 1872, the leaders of European anthropometry were trying to measure "with scientific certitude" the inferiority of women. Anthropometry, or measurement of the human body, is not so fashionable a field these days, but it dominated the human sciences for much of the nineteenth century and remained popular until intelligence testing replaced skull measurement as a favored device for making invidious comparisons among races, classes, and sexes. Craniometry, or measurement of the skull, commanded the most attention and respect. Its unquestioned leader, Paul Broca (1824-80), professor of clinical surgery at the Faculty of Medicine in Paris, gathered a school of disciples and imitators around himself. Their work, so meticulous and apparently irrefutable, exerted great influence and won high esteem as a jewel of nineteenth-century science. Broca's work seemed particularly invulnerable to refutation. Had he not measured with the most scrupulous care and accuracy? (Indeed, he had. I have the greatest respect for Broca's meticulous procedure. His numbers are sound. But science is an inferential exercise, not a catalog of facts. Numbers, by themselves, specify nothing. All depends upon what you do with them.) Broca depicted himself as an apostle of objectivity, a man who bowed before facts and cast aside superstition and sentimentality. He declared that "there is no faith, however respectable, no interest, however legitimate, which must not accommodate itself to the progress of human knowledge and bend before truth." Women, like it or not, had smaller brains than men and, therefore, could not equal them in intelligence.. (shrink)

Maurice Merleau-Ponty’s ‘flesh of the world’ speaks to an embodied connection to the spaces we inhabit deeply, primally, elementally. Flesh suggests water and its circulations, air and its respirations, earth and its conformations, fire and its inspirations. Flesh speaks to our bodily relations with the elements of a more-than-human world. This paper explores the felt imperative to these relations where, as Merleau-Ponty put it, ‘all distance is traversed’ and wherein movement arises not specifically in the body, but in the (...) nexus and intertwining of bodily engagement with the world. There is a primacy to movement that registers in the living body in its carnal ties to the elements of the world’s flesh. The ‘radical reflection’ on the ‘flesh of the world’ to which this analysis aspires in turn bears upon the general field of gestural reciprocities and connections, providing the insight that intimate gestures of the flesh, such as the embrace, are primordial attunements, motions of rhythm and reciprocity, that emanate from the world in identification with it. The embrace is fundamentally, elementally, a gesture of landscape dwelling. A phenomenology of elemental motions provides the textual reminder that to be at home in various landscapes means to know what it is to be embraced corporeally, sensually, within the human and especially the more-than-human folds of the world. Indo-Pacific Journal of Phenomenology , Volume 6, Edition 1 May 2006. (shrink)

According to Hegel, true freedom consists not just in arbitrariness, but in the free willing of right. Right in turn is fully realised in the laws and institutions of ethical life. The ethical subject, for Hegel, is a practical subject that acts in accordance with ethical laws; yet it is also a theoretical, cognitive subject that recognizes the laws and institutions of ethical life as embodiments of right. Such recognition can be self-conscious and reflective; but it can, and indeed must, (...) also be a felt recognition and as such it takes the form of trust. In Hegel’s view, therefore, the proper stance to adopt towards ethical institutions is that of trust; moreover, there is a distinctive freedom to be found in trust itself. Trust is appropriate, however, only when the institutions of ethical life are themselves worthy of it. Hegel is well aware that not all states and their institutions merit trust, but in his view a life without trust in institutions is a life without true freedom. (shrink)

Gettier problems or cases are named in honor of the American philosopher Edmund Gettier, who discovered them in 1963. They function as challenges to the philosophical tradition of defining knowledge of a proposition as justified true belief in that proposition. The problems are actual or possible situations in which someone has a belief that is both true and well supported by evidence, yet which — according to almost all epistemologists — fails to be knowledge. Gettier’s original article had a dramatic (...) impact, as epistemologists began trying to ascertain afresh what knowledge is, with almost all agreeing that Gettier had refuted the traditional definition of knowledge. They have made many attempts to repair or replace that traditional definition of knowledge, resulting in several new conceptions of knowledge and of justificatory support. In this respect, Gettier sparked a period of pronounced epistemological energy and innovation — all with a single two-and-a-half page article. There is no consensus, however, that any one of the attempts to solve the Gettier challenge has succeeded in fully defining what it is to have knowledge of a truth or fact. So, the force of that challenge continues to be felt in various ways, and to various extents, within epistemology. Sometimes, the challenge is ignored in frustration at the existence of so many possibly failed efforts to solve it. Often, the assumption is made that somehow it can — and will, one of these days — be solved. Usually, it is agreed to show something about knowledge, even if not all epistemologists concur as to exactly what it shows. (shrink)

Attention is drawn to the movements of the body and to the ethical imperative that emerges in compelling, flowing moments of teaching. Such moments of teaching are not primarily intellectual, discursive events, but physical, sensual experiences in which the body surrenders to its own movements. Teaching is recognized momentarily as a carnal intensity embedded in and emerging from the flesh. The ethical imperative to this teaching is felt proprioceptively and kinaesthetically when one holds in self-motion the well-being of another (...) as being of the same flesh. The teaching caress offers a primary example. This gesture of intimacy discloses an embodied ethic that contrasts with the transcendental ethics of curricular prescriptions, professional codes of conduct, and the presumptions of self-monitoring behavior. It is a gesture of care for another person, without fastidious carefulness. It is a gesture of pure duration, without sanctimonious purity, in its contact with the beauty, truth and value of the teachable moment. From earliest engagements with children to the dynamics of the university classroom, what makes for good teaching is essentially attentiveness to intimate gestures, such as the caress, that guide teachers kinethically in the moment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 1-6 [Access article in PDF] Once Again, This Time with Feeling Stephen Davies The arbitrariness of so many virtuosos is partly responsible for the excess of expression marks to be found in the works of composers who thus hoped to forestall distortion and misinterpretation. Yet, complete control over the performer is not only impossible but also undesirable. The only remedy is (...) to improve the education of performers in matters of musical style and taste. The most common fault is the application of a Romantic, that is, a highly expressive treatment of non-Romantic music, such as the works of Bach, Mozart, Beethoven. The deplorable result is an overdoing of all nuances: the use of prestissimo instead of allegro, of larghissimo instead of adagio, of fff and ppp instead of f and p, of frequent crescendi and decrescendi instead of an even level of sonority, of numerous rubatos, ritardandos, and accelerandos instead of strictly kept tempo, etc. In view of all these tendencies nothing seems to be more important for the student than to learn to play without expression. Only the pianist who has learned to play Bach's Chromatic Fantasia or Beethoven's Apassionata in the most rigid way will be able to add that amount of nuances and shades which these works properly require.1 Prelude How does the performer communicate the emotional expressiveness imparted by the composer to his music? The response to this question will depend on one's view of performance. For Western works specified notationally(to which I will restrict the following discussion), a plausible position regards musical performance as analogous to quotation. The performer's task and intention is, by following the composer's score, to repeat or re-create an "utterance" made originally by the composer, and, thereby, to convey what he meant by it. The response will depend also on one's theory as regards the manner in which music is expressive of emotion. [End Page 1] Expressive Performance as Feeling or Simulation One such account, known as the expression theory, has it that music is expressive of an emotion just in case the composer experienced that emotion and gave vent to it through the act of composition; the work, his "utterance," betrays what he felt. In that case, the performer's task is to quote the composer's utterance in a manner that betrays the same emotion. Rather than merely mouthing what he says, she will invest it with the passion that would be typical of someone's giving direct expression to his or her experience of the relevant emotion. She might adopt either of two approaches to this end. Like the "method" actor, she might induce an equivalent emotion in herself and affirm what she quotes as an expression of her own feeling, this being one she shares with the composer. Or she might simulate the expression of the appropriate emotion. She articulates the composer's utterance as if she felt what he did.According to the arousal theory, music is expressive of a given emotion just in case the audience is aroused to an experience of that emotion as a consequence of listening to and following the music. In that case, the performer's goal is to move the auditor to an appropriate emotional response by "quoting" the composer. One of the most compelling ways of doing so would be by eliciting an empathetic reaction. Provided the performer demonstrates the appropriate feeling with sufficient ardor, she can rely on the natural human sympathy of the audience to kindle in them a reaction echoing her own emotion. Accordingly, she should proceed as already described, either by inciting herself to the appropriate emotion and showing it in her manner of playing, or, at least, by acting if she is in the grip of that emotion, even if she is not.There are grounds for rejecting both the emotivist and the arousal theories of musical expressiveness, but independent of those reasons, it should be apparent that what these accounts imply about the manner of performing music expressively is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 1-6 [Access article in PDF] Once Again, This Time with Feeling Stephen Davies The arbitrariness of so many virtuosos is partly responsible for the excess of expression marks to be found in the works of composers who thus hoped to forestall distortion and misinterpretation. Yet, complete control over the performer is not only impossible but also undesirable. The only remedy is (...) to improve the education of performers in matters of musical style and taste. The most common fault is the application of a Romantic, that is, a highly expressive treatment of non-Romantic music, such as the works of Bach, Mozart, Beethoven. The deplorable result is an overdoing of all nuances: the use of prestissimo instead of allegro, of larghissimo instead of adagio, of fff and ppp instead of f and p, of frequent crescendi and decrescendi instead of an even level of sonority, of numerous rubatos, ritardandos, and accelerandos instead of strictly kept tempo, etc. In view of all these tendencies nothing seems to be more important for the student than to learn to play without expression. Only the pianist who has learned to play Bach's Chromatic Fantasia or Beethoven's Apassionata in the most rigid way will be able to add that amount of nuances and shades which these works properly require.1 Prelude How does the performer communicate the emotional expressiveness imparted by the composer to his music? The response to this question will depend on one's view of performance. For Western works specified notationally(to which I will restrict the following discussion), a plausible position regards musical performance as analogous to quotation. The performer's task and intention is, by following the composer's score, to repeat or re-create an "utterance" made originally by the composer, and, thereby, to convey what he meant by it. The response will depend also on one's theory as regards the manner in which music is expressive of emotion. [End Page 1] Expressive Performance as Feeling or Simulation One such account, known as the expression theory, has it that music is expressive of an emotion just in case the composer experienced that emotion and gave vent to it through the act of composition; the work, his "utterance," betrays what he felt. In that case, the performer's task is to quote the composer's utterance in a manner that betrays the same emotion. Rather than merely mouthing what he says, she will invest it with the passion that would be typical of someone's giving direct expression to his or her experience of the relevant emotion. She might adopt either of two approaches to this end. Like the "method" actor, she might induce an equivalent emotion in herself and affirm what she quotes as an expression of her own feeling, this being one she shares with the composer. Or she might simulate the expression of the appropriate emotion. She articulates the composer's utterance as if she felt what he did.According to the arousal theory, music is expressive of a given emotion just in case the audience is aroused to an experience of that emotion as a consequence of listening to and following the music. In that case, the performer's goal is to move the auditor to an appropriate emotional response by "quoting" the composer. One of the most compelling ways of doing so would be by eliciting an empathetic reaction. Provided the performer demonstrates the appropriate feeling with sufficient ardor, she can rely on the natural human sympathy of the audience to kindle in them a reaction echoing her own emotion. Accordingly, she should proceed as already described, either by inciting herself to the appropriate emotion and showing it in her manner of playing, or, at least, by acting if she is in the grip of that emotion, even if she is not.There are grounds for rejecting both the emotivist and the arousal theories of musical expressiveness, but independent of those reasons, it should be apparent that what these accounts imply about the manner of performing music expressively is... (shrink)

Possession is preeminently the form in which the other becomes the same, by becoming mine. (Levinas, TI, 46)If perceptions are distinct existences, they form a whole only by being connected together. But no connexions among distinct existences are ever discoverable by human understanding. We only feel a connexion or determination of the thought to pass from one object to another. It follows, therefore, that the thought alone feels personal identity, when reflecting on the train of past perceptions that compose a (...) mind, the ideas of them are felt to be connected together, and naturally introduce each other. (Burne, T, App., 635)The I think must accompany all my representations, for otherwise something would be represented in me which could not be thought: .... they must conform to the condition under which alone they can exist altogether in a common self-consciousness, because otherwise they would not all without exception belong to me. (Kant, CPR, 76-7). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:36. HUME'S SECOND THOUGHTS ON THE SELF* 1_. Although the appendix in which Hume confesses disillusionment with the Treatise theory of personal identity is very puzzling and confusing, there have been few serious attempts to explicate it. Wade L. Robison's recent paper, "Hume on Personal Identity," goes a long way toward making up for this lack, and I concur with much of what Robison says. Nonetheless, I think further (...) light can be shed on Hume's thinking, and I will attempt to do so in what follows. 1_. Hume reports that a review of his discussion of personal identity reveals problems so severe and difficult that he does not "know how to correct my former opinions, nor how to render them consistent." After summarizing the arguments that led him to the Treatise view of personal identity, he offers this explanation of the discovery inconsistency : In short, there are two principles which I cannot render consistent, nor is it in my power to renounce either of them, vis. that all our distinct perceptions are distinct existences, and that the mind never perceives any real connection among distinct existences. (636)¿ The trouble with this explanation is that there appears to be no inconsistency at all between these two principles. Many commentators have simply passed over this fact, perhaps because Hume's theory of self-identity has seemed so preposterous that they have felt it obvious that he would be unhappy with it. * This paper grew out of my contribution to a colloquium at the 1974 Eastern Division Meeting of the American Philosophical Association. I would like to express my thanks to Norman Melchert, whose paper stimulated my werk on this topic. 37. Others -- such as Norman Kemp Smith and John Passmore, in addition to Robison -- have claimed that Hume was incorrect in placing the inconsistency and have suggested more suitable candidates for the source of Hume's doubts. This failure to take the author at his word about what disturbed him may appear too presumptuous a move for a commentator to make, but the appendix provides strong evidence that Hume was quite confused and could easily have misstated or misidentified his problem. For example, Hume begins by saying that he will offer the arguments "on both sides" -- that is, the arguments that led him to adopt this theory of personal identity and those now causing him to doubt it. In fact, however, while he gives a neat summary of the arguments for the Treatise theory, he says nothing about the grounds for his new doubts. In addition, the statement of the two principles is introduced by the words "in short," as if Hume were providing a mere summary of what he had just said. The preceding passage, however, makes no mention of and is in no way concerned with the two principles. What is offered as a summary is no summary at all. Added to the apparent consistency of the two principles, these facts provide strong grounds for thinking Hume was quite confused. As such, they support those commentators who have felt forced to look elsewhere for the source of Hume's dissatisfaction. Robison' s most concise statements of his own interpretation of the problem are as follows: Hume's explanation of why we think we have an idea of the self depends upon there being a self... But he has argued that we can have no idea of such a self so that we cannot conceive it as existing, let alone guarantee its existence. (190)...we all think we have an idea of the self... Hume has to explain this fact, and...the sort of explanation he used appeals to the existence of an active self distinct from any bundle of perceptions and propensities... (192) Robison is correct, I think, on the basic point: the inconsistency is between Hume's bundle analysis of the self and his explanation of why we mistakenly believe there is a per- 38. sistent self. I differ with him, however, on two points. First, I think that his contrast between an active mind and a set of propensities is incorrect. That the Humean self has propensities is itself sufficient to generate Hume's problem... (shrink)

There is a venerable philosophical tradition that views human beings as intrinsically rational, though even the most ardent defender of this view would admit that under certain circumstances people’s decisions and thought processes can be very irrational indeed. When people are extremely tired, or drunk, or in the grip of rage, they sometimes reason and act in ways that no account of rationality would condone. About thirty years ago, Amos Tversky, Daniel Kahneman and a number of other psychologists began reporting (...) findings suggesting much deeper problems with the traditional idea that human beings are intrinsically rational animals. What these studies demonstrated is that even under quite ordinary circumstances where fatigue, drugs and strong emotions are not factors, people reason and make judgments in ways that systematically violate familiar canons of rationality on a wide array of problems. Those first surprising studies sparked the growth of a major research tradition whose impact has been felt in economics, political theory, medicine and other areas far removed from cognitive science. In Section 2, we will sketch a few of the better known experimental findings in this area. We’ve chosen these particular findings because they will play a role at a later stage of the paper. For readers who would like a deeper and more systematic account of the fascinating and disquieting research on reasoning and judgment, there are now several excellent texts and anthologies available. (shrink)

This book offers an introduction to the way art is perceived, interpreted, and felt and approaches these mindful events from a multidisciplinary perspective.

In the Summer 2014 JSE issue (Volume 28:2), we published two long reports, by Michael Nahm and myself, on the investigation of physical medium Kai Mügge and the Felix Circle. Those papers were revised versions of papers, ready to be published earlier, but scuttled when evidence of fraud was uncovered in the case. Nahm and I reached different conclusions about Kai’s mediumship as a whole. He felt that the majority of Kai’s phenomena were probably fraudulent. I was not ready (...) to go that far. In any case, whatever our intuitions might have been about the extent of Kai’s cheating, we both agreed that some of his phenomena were still very difficult to explain away—and indeed had not been adequately explained away. I believe it’s fair to say that however large or small that residue of legitimacy may be, Nahm and I agree that it at least includes table levitations. Since that JSE issue was published, there have been further developments in the case. Some of these, from an investigation I supervised in October of this year, I hope to present at length in a future issue of the JSE. The rest concern some incidents that occurred relatively soon after the appearance of our original reports, and which should be mentioned now without further ado. The item of greatest interest, no doubt, will be the testimony—quoted below—describing how at least one instance of Kai’s cheating was uncovered. (shrink)

Despite considerable interest in viral evolution, at least among virologists, viruses are rarely considered from the same evolutionary vantage point as other organisms. Early work of necessity emphasized phenotype and phenotypic variation (and therefore arguably was more oriented towards the broader biological and ecological perspectives). More recent work (essentially since the development of molecular evolution in the 1960's but beginning earlier) has concentrated on genotypic variation, with less clarity about the significance of such variations. Other aspects of evolutionary theory, especially (...) considerations of natural selection and of evolutionary constraints, have not widely been applied to viruses, and an evolutionary framework for virology has long been lacking. This becomes apparent in considering 'emerging' viruses, which have often been treated on an ad hoc basis. It was often felt that, because previously unrecognized viruses are involved, mechanisms of viral emergence must mirror the unpredictability of mutations in the viral genome. However, most examples of viral emergence are independent of mutation, at least initially, and are often pre-existing viruses in changed circumstances ('viral traffic'). This conclusion also readily follows from ordinary Darwinian premises, which would require that, like other living species, 'new' organisms are descended only from existing species. In this respect, from a Darwinian perspective, viruses would appear to resemble other organisms. (shrink)

The present study considers whether poetry is capable of providing insight that can illuminate our lives, doing so from the perspective of Aristotle’s understanding of tragedy, fear, and the emotions more generally. It argues that and explains how fear as understood by Aristotle can foster insight in a tragedy’s audience, depicts the nature and the bases for such insight, and suggests several ways in which insight that fear can bring to tragedy can be especially or particularly illuminating. The argument for (...) these conclusions proceeds by considering Aristotle’s understanding of fear, noting particularly its epistemological powers. It then turns to fear’s realization in response to tragedy, arguing that and explaining how tragedy’s form and a number of its distinctive features can shape fear in ways that more readily foster insight than is to be found in fear felt in more ordinary circumstances. The conclusion reached is that on Aristotle’s understanding fear in response to tragedy can prove particularly illuminating, and can illuminate our ordinary lives. (shrink)

Vision often dominates other perceptual modalities both at the level of experience and at the level of judgment. In the well-known McGurk effect, for example, one’s auditory experience is consistent with the visual stimuli but not the auditory stimuli, and naïve subjects’ judgments follow their experience. Structurally similar effects occur for other modalities (e.g. rubber hand illusions). Given the robustness of this visual dominance, one might not be surprised that visual imagery often dominates imagery in other modalities. One might be (...) surprised, however, that visual imagery often dominates perception in other modalities. This more controversial claim is motivated both by empirical data and by introspection. Some think of perception-perception visual dominance as epistemically good, holding that cases in which visual dominance misleads us (e.g. McGurk and rubber hand illusions) are cases in which the perceptual system resolves conflicts according to principles that are generally reliable. Here, we explore support for the more controversial claim that imagery-perception visual dominance is epistemically good. We suggest that, when the task is richly spatial, requiring for optimal performance the all-at-once identification of macro-spatial and allocentric properties (e.g. identifying the shape or location of a felt or heard object), the visual, whether perception or imagination, should dominate other modalities. Put another way, when identifying objects, one should go and look or, short of that, visually imagine candidate objects, and then follow the visual, even against conflicting perceptions from other modalities. For this broadly-typed category of of cognitive-perceptual task, vision does dominate and it should. (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

Historical explanation after Hempel came to be discussed in terms of a contrast between nomic explanations and rationalizations, and later between cause and narrative. This period can be taken as an historical parenthesis, in which the notion of cause narrowed and the notion of historical understanding as empathic dropped out. In the present philosophical landscape there are different models of cause available, especially in the causal modeling literature, and a revived appreciation, through the philosophy of mind and in light of (...) such discoveries as mirror neurons, of empathy. The newer causal modeling literature foregrounds the problem of confounding or overdetermination, but solves it in ways inimical to historical explanation. Empathy, however, represents an alternative solution, available to the historian, in which causal relevance can be assessed and established in terms of its role in the reenacted experience of the historical subject. This suggests the idea that the art of history is using historical evidence to show what people might have thought and felt under past circumstances, in ways that engage our capacities to mind-read - capacities established by cognitive science. (shrink)

A key phrase in working with horses, “bringing up life” is taken in its literal sense of moving expressively and energetically in order to animate the movements of the horses. The phrase also points to both what the radical phenomenologist Michel Henry referred to as the auto-affectivity of life and the vital powers of an essential hetero-affectivity. “Bringing up life” is the kinetic, kinaesthetic, affective expression of this fundamental impression that life is shared with other animate beings and that it (...) is all the more powerfully felt for being so. Working with horses – in spite of all the human conceits that groundwork, liberty training, and the riding disciplines hold – can thus reveal what it means to “bring up life” as more than a topic of very practical interest and specific phenomenological description. Through the impressional investigation of this expression we may well begin to feel our way toward more life-affirming, life-enhancing interactions with others of our own and many other animal kinds. (shrink)

The existence and unity of a discipline called economics reside in the eye and mind of the beholder. The perception of economics's unity and disciplinarity itself arises in some, but not all, of the different schools of thought that we would loosely categorize as economic. Indeed, as we hope to show, the presumption of unity and disciplinarity—the idea that there is a center or “core” of propositions, procedures, and conclusions or a shared historical “object” of theory and practice—is suggested in (...) the concepts and methods of some schools of economic thought, but is opposed by others. Further, we argue that the portrayal of economics as a discipline with distinct boundaries is often a discursive strategy by one school or another to hegemonize the field of economic discourse. In this way, the issue of the existence of an economics discipline and its principles of unity or dispersion is in part a political question. Its effects are felt in the hiring and firing of economics professors and practitioners, the determination of what comprises an economics curriculum, the determination of what is a legitimate economic argument and what is not, the dispensation of public and private grant monies, and the differential entry into or exclusion from ideological, political, and economic centers of power and decision making.Our view is that no discipline of economics exists. Or, rather, no unified discipline exists. The “discipline” of economics is actually an agonistic and shifting field of fundamentally different and often conflicting discourses. The dispersion and divisions that exist between the schools of thought we discuss here as “economic” may have some regularities. But we do not see closer contiguity of these economic schools when placed on a horizontal scale than, to take just one example, among all of the many different "disciplinary" forms of Marxian thought. That is, in our view, Marxian economic thought shares more concepts, approaches, and methods—may have more discursive regularity—with Marxian literary theory than do Marxian economic thought and neoclassical economic theory. Jack Amariglio is associate professor of economics at Merrimack College and the editor of Rethinking Marxism: A Journal of Economics, Culture, and Society. He is working on a book entitled Modernism and Postmodernism in Economics with Arjo Klamer. Stephen Resnick and Richard Wolff are professors of economics at the University of Massachusetts, Amherst. Their recent coauthored books are Knowledge and Class: A Marxian Critique of Political Economy and Economics: Marxian versus Neoclassical. (shrink)

In J. M. Coetzee’s novel, Waiting for the Barbarians, the main protagonist, the elderly Magistrate of a small frontier town of the Empire, is caught up in an impending war with the so-called barbarians. After witnessing the brutality of Colonel Joll, a member of the Bureau sent by the Civil Guard, the Magistrate puzzles over how Joll is able to torture his victims, yet show no signs of moral pollution. He wonders how Joll felt the very first time he (...) administered torture. Did he “shudder even a little knowing he was trespassing into the forbidden?” Does Joll have a “private ritual of purification, carried out behind closed doors, to enable him to return and break bread with other men?” Does he “wash his hands very carefully, perhaps, or change all his clothes; or has the Bureau created new men who can pass without disquiet between the unclean and the clean?” Later, after being tortured himself, the Magistrate confronts Joll’s sidekick Mandel. This time he demands an answer to his incomprehension. (shrink)

Güinope, Honduras was the site of a highly acclaimed people-centered development project in the 1980s. The ACORDE/Ministry of Natural Resource/World Neighbors Integrated Development Program (IDP) was unique for its time, since rather than relying on technology transfer, it promoted innovation skills for local generation of responses to needs. Furthermore, it was one of the first efforts in Latin America to employ villagers as principal agents of change. Fifteen years after the inception of the IDP and ten years after its completion, (...) the authors interviewed farmers in their fields and held a series of participatory workshops over eighteen months with ten outstanding farmers who had become project leaders. The leaders identified influential factors behind their involvement and produced recommendations for rural development interventions. Further, a generalized concept map typifying ideal characteristics for farmer promoters was constructed. Recommendations for development agencies centered on project design and implementation, demanding a methodology for strengthening local innovative capacities, participation, and control over resources. Ultimately, the leaders downplayed the role of technologies in rural development and called for special attention to enabling communities to confront external pressures, in particular recent government ``modernization'' policies, that they felt threatened community livelihood. (shrink)

In this publication, we will use the principal concepts of John of the Cross, the famous mystic of the XVI th century, as a framework to go over, in a non-reductionist way, three challenges in contemporary neuroscience of decision-making. Firstly, the dark night and the purgative paths will be related to discontinuity in decision-making. Secondly, the passive and active paths will be associated to brain plasticity, architecture, and levels of decision. Thirdly, the illumination, which can be felt when a (...) solution is reached, has to do with positive emotions and can be inspired by the science of love of John of the Cross. We shall lastly conclude by emphasizing the usefulness of his work to illuminate the neuroscience of decision-making. (shrink)

Background: The process of obtaining informed consent continues to be a contentious issue in clinical and public health research carried out in resource-limited settings. We sought to evaluate this process among human research participants in randomly selected active research studies approved by the School of Medicine Research and Ethics Committee at the College of Health Sciences, Makerere University. Methods: Data were collected using semi-structured interviewer-administered questionnaires on clinic days after initial or repeat informed consent procedures for the respective clinical studies (...) had been administered to each study participant. Results: Of the 600 participants interviewed, two thirds (64.2 %, 385/600) were female. Overall mean age of study participants was 37.6 (SD = 7.7) years. Amongst all participants, less than a tenth (5.9 %, 35/598) reported that they were not given enough information before making a decision to participate. A similar proportion (5.7 %, 34/597) reported that they had not signed a consent form prior to making a decision to participate in the study. A third (33.7 %, 201/596) of the participants were not aware that they could, at any time, voluntarily withdraw participation from these studies. Participants in clinical trials were 50 % less likely than those in observational studies [clinical trial vs. observational; (odds ratio, OR = 0.5; 95 % CI: 0.35-0.78)] to perceive that refusal to participate in the parent research project would affect their regular medical care. Conclusions: Most of the participants signed informed consent forms and a vast majority felt that they received enough information before deciding to participate. On the contrary, several were not aware that they could voluntarily withdraw their participation. Participants in observational studies were more likely than those in clinical trials to perceive that refusal to participate in the parent study would affect their regular medical care. (shrink)

SummaryThe Admonition Controversy, largely between Thomas Cartwright and John Whitgift has proven fecund ground for intellectual historians analysing the religious dimension to early-modern political ideas. This paper argues that the religious dimension of Cartwright's mixed constitutionalism needs better explanation, rather than just noting that his ecclesiastical mixed constitutionalism mirrors his political mixed constitutionalism. This paper tracks Cartwright's progressive, dialogical unfolding of his mixed constitutionalism in response to Whitgift's attempt to derive episcopacy from the fact of English monarchy, effectively discrediting the (...) Admonition to Parliament. Furthermore, the essay outlines how the Cartwright–Whitgift debate led Cartwright to emphasise a parliamentarist mixed constitution when most of his contemporaries, especially the more famous mixed constitutionalist, Thomas Smith, portrayed the English parliament leaning noticeably towards the monarch. This analysis accepts that religious polemic was a major driving force in the normalisation of parliamentarism, yet seeks to show exactly how this worked out in one of the most important church–state disputes in Elizabethan England. (shrink)

What could someone represent that would enable her to track, at least within limits, others' perceptions, knowledge states and beliefs including false beliefs? An obvious possibility is that she might represent these very attitudes as such. It is sometimes tacitly or explicitly assumed that this is the only possible answer. However, we argue that several recent discoveries in developmental, cognitive, and comparative psychology indicate the need for other, less obvious possibilities. Our aim is to meet this need by describing the (...) construction of a minimal theory of mind. Minimal theory of mind is rich enough to explain systematic success on tasks held to be acid tests for theory of mind cognition including many false belief tasks. Yet minimal theory of mind does not require representing propositional attitudes, or any other kind of representation, as such. Minimal theory of mind may be what enables those with limited cognitive resources or little conceptual sophistication, such as infants, chimpanzees, scrub-jays and human adults under load, to track others' perceptions, knowledge states and beliefs. (shrink)

The development of children’s minds raises fundamental psychological and scientific questions, from how we are able to know about and describe basic aspects of the world such as words, numbers and colours to how we come to grasp causes, actions and intentions. This is the first book to properly introduce and examine philosophical questions concerning children’s cognitive development and considers the implications of scientific breakthroughs for the philosophy of developmental psychology. Each chapter explores a central topic in developmental psychology from (...) a philosophical perspective: social interaction and the developing mind children's awareness of objects and the question of 'object permanence' knowledge of numbers children and the acquisition of knowledge of colour language acquisition and the 'mapping problem' children's knowledge of the relation between actions and goals belief acquisition and the developing mind. Throughout the book Stephen Butterfill draws on several important case studies, including experiments with children on memory, ‘false belief tasks’, and the process by which children come to see other people, not just themselves, as capable of experience. He shows how these questions can illuminate some fundamental debates in philosophy of mind, such as the mind’s possession of concepts, rationality and the mind, the possibility of objective thought, and the nature of perceptual experience. Additional features, such as chapter summaries, annotated further reading and a glossary provide helpful tools for those coming to the subject for the first time. (shrink)

What could someone represent that would enable her to track, at least within limits, others' perceptions, knowledge states and beliefs including false beliefs? An obvious possibility is that she might represent these very attitudes as such. It is sometimes tacitly or explicitly assumed that this is the only possible answer. However, we argue that several recent discoveries in developmental, cognitive, and comparative psychology indicate the need for other, less obvious possibilities. Our aim is to meet this need by describing the (...) construction of a minimal theory of mind. Minimal theory of mind is rich enough to explain systematic success on tasks held to be acid tests for theory of mind cognition including many false belief tasks. Yet minimal theory of mind does not require representing propositional attitudes, or any other kind of representation, as such. Minimal theory of mind may be what enables those with limited cognitive resources or little conceptual sophistication, such as infants, chimpanzees, scrub‐jays and human adults under load, to track others' perceptions, knowledge states and beliefs. (shrink)

Developed as the text for the basic computer architecture course at MIT, Computation Structures integrates a thorough coverage of digital logic design with a comprehensive presentation of computer architecture.

In Human Presence Erickson offers a thoughtful study of some fundamental features of human nature central to a theoretical and therapeutic understanding of human existence. Though the language employed is largely philosophical, interfaces with psychoanalysis and religion are made in order to stimulate dialogue that reaches beyond the traditional boundaries of discipline. It is toward more such dialogue that Human Presence serves as preparation. The author provides a probing contrast between traditional psychoanalysis and existential conceptions of time consciousness and he (...) articulates the issues involved in experience or lived time in their centrality to human self-understanding. The author suggests how both conceptions, the existential and the psychoanalytic, enlarge yet limit awareness and insight. In a revealing way, Human Presence raises deep and unavoidable issues regarding the human in us all. Stephen A. Erickson is Professor of Philosophy, Pomona College and Claremont Graduate School, and is a guest faculty member of the Southern California Psychoanalytic Institute. (shrink)

The unique discourse of Confucian ritual practice encompasses a powerful and sophisticated way of talking about individual fulfillment within the context of more substantive or universal conceptions of the good life. To make this case, I will consider both the text of the "Analects" and the influential readings of the "Analects" offered by Fingarette in "Confucius: The Secular as Sacred" and by Hall and Ames in "Thinking through Confucius". Though the two interpretive works are helpful in articulating the classical Confucian (...) contribution to the problem of balancing conformity and individuality, I will argue that an alternative reading is required to appreciate fully how values thought to embody and express the fullest humanity might be inculcated in ethical agents without undoing their individuality. Such an alternative is developed here. (shrink)

In Silence et langage Stephen A. Noble offers a new interpretation of the development of Merleau-Ponty’s phenomenology which analyses the central position of language within a philosophy of perception predicated upon the interdependence of seeing and speaking.

Many of the things we do are, or could be, done with others. Mundane examples favoured by philosophers include painting a house together (Bratman 1992), lifting.