There existed a tradition of mimetic experimentation in the late nineteenth century, whereby morphologists sought to scale down sublime natural phenomena to tabletop devices in the laboratory. Experimenters constructed analogs of the aurora, attempting to replicate the colors and forms of the phenomenon with discharge tube experiments and electrical displays, which became popular spectacles at London’s public galleries. This paper analyses a closely allied but different kind of imitation. Between 1872 and 1884, Professor Karl Selim Lemström (1838–1904) attempted to (...) reproduce the aurora borealis in all of its complexity atop four mountains in northern Finland. Crucially, his “artificial aurora” was to materialize at the same scale as the original phenomenon and in its natural habitat in the polar atmosphere. With his experiment Lemström hoped to uncover the workings of the aurora and the electrical currents that he believed were always present within the atmosphere; his epistemological framework was one of learning by making. This paper sheds light on the broader problem of what it meant to authentically replicate a phenomenon that remained largely enigmatic, and, most importantly, how this replication could be verified. This prompts a discussion as to whether model experiments needed only to appear visually similar to the objects they purported to imitate, were required to preserve their form, or needed to be materially identical in order to the original to be identified as legitimate “reproductions” in the late nineteenth century. (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the stores (...) seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

Recently there has been a great deal of interest in tabletop experiments intended to exhibit the quantum nature of gravity by demonstrating that it can induce entanglement. In order to evaluate these experiments, we must determine if there is any interesting class of possibilities that will be convincingly ruled out if it turns out that gravity can indeed induce entanglement. In particular, since one argument for the significance of these experiments rests on the claim that they demonstrate the existence (...) of superpositions of spacetimes, it is important to keep in mind that different interpretations of quantum mechanics may make different predictions about superpositions of spacetimes. ψ\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\psi$$\end{document}-complete interpretations of quantum mechanics, like the Everett interpretation, almost universally predict the existence of superpositions of spacetimes, whereas in ψ\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\psi$$\end{document}-incomplete, ψ\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\psi$$\end{document}-nonphysical interpretations it seems more natural to predict that spacetime superpositions are not possible. Meanwhile ψ\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\psi$$\end{document}-incomplete, ψ\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\psi$$\end{document}-supplemented interpretations present us with a more complex picture where we may or may not end up predicting that spacetime superpositions are possible, depending on the particular way in which the coupling between spacetime and matter is constructed. This line of reasoning suggests that what would be ruled out by a successful result to these tabletop experiments is a class of quantum gravity models that we refer to as ψ\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\psi$$\end{document}-incomplete quantum gravity —i.e. models of the interaction between quantum mechanics and gravity in which gravity is coupled to non-quantum beables rather than quantum beables. It follows that the results of tabletop experiments can also be regarded as giving us new evidence about the interpretation of quantum mechanics: roughly speaking, a positive result to these experiments should increase our confidence in ψ\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\psi$$\end{document}-complete interpretations, whilst a negative result should instead increase our confidence in ψ\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\psi$$\end{document}-incomplete interpretations. We introduce these ideas in Sect. 1, and then in Sect. 2 we make the reasoning more precise by presenting a set of inferences that may be made about the ontology of quantum mechanics based on the results of tabletop experiments. In Sect. 3 we discuss some existing PIQG models and consider what more needs to be done to make these sorts of approaches more appealing. There are two competing paradigms for the interpretation of these experiments, which have been dubbed the ‘Newtonian’ paradigm and the ‘tripartite’ paradigm: here we largely work within the tripartite paradigm, because the tripartite view is specifically concerned with ontological aspects of the mediating gravitational interaction and that makes it a suitable setting for enquiries about the ontology of quantum mechanics, but in Sect. 4 we consider what conclusions can be drawn if one does not presuppose the tripartite view. Finally in Sect. 5 we discuss a cosmological phenomenon which could be regarded as providing evidence for PIQG models. (shrink)

We introduce an effective translation from proofs in the display calculus to proofs in the labelled calculus in the context of tense logics. We identify the labelled calculus proofs in the image of this translation as those built from labelled sequents whose underlying directed graph possesses certain properties. For the basic normal tense logic Kt, the image is shown to be the set of all proofs in the labelled calculus G3Kt.

This article is dedicated to the issue of achieving consensus in tabletop role-playing games and also addresses the question of how exactly play­ers gain power over the interpretation of events within a tabletop RPG. A tabletop role-playing game presupposes that its participants constantly articulate statements which shift the current configuration of in-game elements and also play the role of being artistic descriptions of said shifts. The alternation and interplay of performative and descriptive statements, their convolution and also (...) the fact that, in tabletop RPGs, unlike in the majority of the rest of the games known to humanity, the same words from natural languages are used both in order to produce a shift in abstract, symbolic structure of a game, and to artistically describe said shift, all lead to the situation where participants cannot tell a proper symbolic system of a given game from other symbolic systems which this game refers to. In this article, we propose an analytical model of a tabletop RPG which would make it possible to draw stricter borderlines between a given RPG’s fictional world and its inner symbolic structure. Furthermore, it would allow us to formulate a clearer question regarding the structures of power produced while playing an RPG, and what exactly players gain control over while playing it. Moreover, this model would enable us to explore in detail the processes of the individual and collective interpretation of events in a tabletop RPG, and classify facts within said interpretation in relation to whether they are held to be objectively or subjectively true. (shrink)

We introduce translations between display calculus proofs and labeled calculus proofs in the context of tense logics. First, we show that every derivation in the display calculus for the minimal tense logic Kt extended with general path axioms can be effectively transformed into a derivation in the corresponding labeled calculus. Concerning the converse translation, we show that for Kt extended with path axioms, every derivation in the corresponding labeled calculus can be put into a special form that is (...) translatable to a derivation in the associated display calculus. A key insight in this converse translation is a canonical representation of display sequents as labeled polytrees. Labeled polytrees, which represent equivalence classes of display sequents modulo display postulates, also shed light on related correspondence results for tense logics. (shrink)

The use of facial recognition systems in concerts provides a perfect pretext to semiotically discuss the role of the face in contemporary culture, identifying different strategies and axiologies (systems of values). In his visionary essay Bruits (“noises”) from 1977, the French thinker Jacques Attali establishes a close connection between music and power and locates it in the site of the collective unfolding of music: the concert hall. Following this hint, the article reconstructs the current debate on facial recognition systems in (...) the music business, with a particular focus on concerts and festivals. The different positions (of musicians, authorities, and professionals) are outlined (some are openly in favor, others openly against), key moments are identified (Beyoncé’s concert in Cardiff, 2017; Jacky Cheung’s in Nanchang, 2018; Taylor Swift’s at the Rose Bowl in Pasadena, 2018; the “banfacialrecognition.com” campaign launched in 2019; the case of Barbara Hart at Brandi Carlile’s show at the Madison Square Garden, 2022) and, finally, the issue is framed within the broader debate about the face as an indexical marker of presence, identity, and humanity (the contrast between Italian philosopher Giorgio Agamben and American sociologist and design theorist Benjamin Bratton is addressed). (shrink)

The present monograph is a slightly revised version of my Habilitations schrift Proof-theoretic Aspects of Intensional and Non-Classical Logics, successfully defended at Leipzig University, November 1997. It collects work on proof systems for modal and constructive logics I have done over the last few years. The main concern is display logic, a certain refinement of Gentzen's sequent calculus developed by Nuel D. Belnap. This book is far from offering a comprehensive presentation of generalized sequent systems for modal logics broadly (...) conceived. The proof-theory of non-classical logics is a rapidly developing field, and even the generalizations of the ordinary notion of sequent listed in Chapter 1 can hardly be presented in great detail within a single volume. In addition to further investigating the various approaches toward generalized Gentzen systems, it is important to compare them and to discuss their relative advantages and disadvantages. An initial attempt at bringing together work on different kinds of proof systems for modal logics has been made in [188]. Another step in the same direction is [196]. Since Chapter 1 contains introductory considerations and, moreover, every remaining chapter begins with some surveying or summarizing remarks, in this preface I shall only emphasize a relation to philosophy that is important to me, register the sources of papers that have entered this book in some form or another, and acknowledge advice and support. (shrink)

This article contributes to ongoing studies in conversation analysis dealing with the way in which epistemic authority is displayed, claimed, contested and negotiated in social interaction. More particularly, it focuses on the articulation between action format, sequential organization, membership categorization and epistemic authority. The article offers an empirical analysis of the way in which knowledge is distributed and recognized in social gatherings, with a special focus on guided visits. Guided visits are a perspicuous setting for this analysis, since it is (...) an activity in which the guide displays knowledge in comments and explanations and the guided seeks for knowledge in questions. However, this distribution of knowledge is regularly challenged. The article offers a systematic study of a collection of sequences initiated by turns beginning with ‘et là’ and locating a new referent in the environment, either in informings or in questions. While the former are frequently produced by the guide, assuming a knowing status, and the latter by the guided, assuming a not knowing, it is possible to observe informings initiated by the guided, who, by so doing, claims a revision of his or her epistemic authority. Likewise, in second position, questions are generally answered by the guide, but can also be answered by another person, claiming alternative epistemic rights. By examining the details of turn and action design in these environments, the article shows how they either reproduce and confirm the current epistemic status of the participants or challenge, negotiate and transform them. The latter case is particularly revealing of the fact that epistemic status and stance are constantly reflexively elaborated by the participants in social interaction. (shrink)

In this paper we introduce and compare four different syntactic methods for generating sequent calculi for the main systems of modal logic: the multiple sequents method, the higher-arity sequents method, the tree-hypersequents method and the display method. More precisely we show how the first three methods can all be translated in the fourth one. This result sheds new light on these generalisations of the sequent calculus and raises issues that will be examined in the last section.

This study investigates moments in which one participant in an interaction embodies that he is “doing thinking,” a display that is commonly referred to as “thinking face. ” From an interactional perspective, it is assumed that embodied displays of “doing thinking” are a recurring social practice and serve interactive functions. While previous studies have examined thinking faces primarily in word searches and storytelling, the present study focuses on argumentative activities, in which children engage in processes of joint decision-making. The (...) paper has two interrelated aims. The first aim is to describe how multiple modalities—beyond the face—are temporally coordinated to create multimodal gestalts of “doing thinking.” It is shown that thinking displays not only involve dynamic imaginative gaze but also stylized bodily postures. The second aim is to generate knowledge about the functions of thinking displays in children's argumentative activities. The analysis describes how both speakers and recipients use thinking displays in different turn positions and align them with verbal talk or silence. The data for this study comprise video recordings of decision-making processes in groups of older children. Drawing on a multimodal approach to situated interaction, it will be proposed that embodied displays of “doing thinking” provide a resource to shape participation frameworks, mark epistemic stances and create epistemic ecologies for collaborative reasoning. By investigating thinking displays in a particular conversational activity, the study sheds light on the diversity and context-sensitive functionality of thinking displays. It also contributes to recent research on children's collaborative reasoning as an embodied discursive practice. (shrink)

Purpose – Tabletop online role-playing games enable active learning appropriate for different ages and learner capabilities. They have also been implemented in computer and engineering ethics courses. The paper aims to discuss these issues. Design/methodology/approach – This paper presents the experience of implementing role-playing in several courses embedded in Web 2.0 environment, with an intention to confront complex and sometimes mutually conflicting concepts, and integrate them into a whole. Findings – Typical examples introducing two basic scenarios representing individual and (...) collaborative learning scripts are presented together with the detailed analysis how the games were performed, the effort to participate in, and to maintain them. Particular attention is paid to student feedback. Originality/value – The paper concludes with the basic findings of the effects of role-playing in current learning computer ethics and social responsibilities courses, and recommendations for future implementation of similar asynchronous learning online activities in order to increase their academic value and prepare students for their forthcoming professional integration. (shrink)

Many logics in the relevant family can be given a proof theory in the style of Belnap's display logic. However, as originally given, the proof theory is essentially more expressive than the logics they seek to model. In this paper, we consider a modified proof theory which more closely models relevant logics. In addition, we use this proof theory to show decidability for a large range of substructural logics.

We define cut-free display calculi for knowledge logics wherean indiscernibility relation is associated to each set of agents, andwhere agents decide the membership of objects using thisindiscernibility relation. To do so, we first translate the knowledgelogics into polymodal logics axiomatised by primitive axioms and thenuse Kracht's results on properly displayable logics to define thedisplay calculi. Apart from these technical results, we argue thatDisplay Logic is a natural framework to define cut-free calculi for manyother logics with relative accessibility relations.

Live streaming shopping, the streaming of real-time videos promoting products that consumers can purchase online, has recently been a booming area of e-commerce, especially during the COVID-19 pandemic. The success of live streaming e-commerce largely relies on the extent to which the broadcaster can get consumers engaged by the live stream. Thus, it is important to discover the antecedents of consumer engagement in such a context. Drawing on consumer engagement and neuroscience literature, this study used electroencephalography inter-subject correlation to explore (...) how broadcasters' entrepreneurial passion during live streaming videos influenced consumers' neural engagement as they watched the live streaming videos. We used the framework of displayed passion and preparedness from the entrepreneurial passion literature to predict consumer engagement. We found significant ISC for strong displayed passion, while preparedness had partially significant effects on the first, second, and summed components of ISC. The interaction effects of these two factors on the first and summed components of ISC were partially significant. Strong displayed passion and preparedness activated the left and right prefrontal regions of the consumers' brains. These findings indicate that broadcasters' displayed passion and preparedness can influence consumer engagement in live streaming e-commerce settings. Our findings suggest that a scientific approach could be used to improve a broadcaster's performance by testing ISC during rehearsals before live streaming. (shrink)

This paper is a revised version of a talk given at the Logic and Logical Philosophy conference in Poland in September 1995. In it, I sketch the connections between Nuel Belnap's Display Logic and J. Michael Dunn's Gaggle Theory.

In this essay I give a complete join semi-lattice of possible display-equivalence schemes for Display Logic, using the standard connectives, and leaving fixed only the schemes governing the star. In addition to proving the completeness of this list, I offer a discussion of the basic properties of these schemes.

It is shown that the constructive four-valued logic N4 can be faithfully embedded into the modal logic S4. This embedding is used to obtain complete, cut-free display sequent calculi for N4 and C4, the modal logic of consistency over N4. C4 is a natural monotonic base system for semantics-based non-monotonic reasoning.

In the present article, we introduce a multi-type display calculus for dynamic epistemic logic, which we refer to as Dynamic Calculus. The display approach is suitable to modularly chart the space of dynamic epistemic logics on weaker-than-classical propositional base. The presence of types endows the language of the Dynamic Calculus with additional expressivity, allows for a smooth proof-theoretic treatment, and paves the way towards a general methodology for the design of proof systems for the generality of dynamic logics, (...) and certainly beyond dynamic epistemic logic. We prove that the Dynamic Calculus adequately captures Baltag–Moss–Solecki's dynamic epistemic logic, and enjoys Belnap-style cut elimination. (shrink)

The actual and potential uses of holograms in museum displays, and the philosophy of knowledge and progress that they represent. Magazine journalists, museum curators, and historians sometimes face similar challenges in making topics or technologies relevant to wider audiences. To varying degrees, they must justify the significance of their subjects of study by identifying a newsworthy slant, a pedagogical role, or an analytical purpose. This chasse au trésor may skew historical story telling itself. In science and technology studies, the problem (...) potentially is worst for those subjects that do not retain an enduring capacity for spectacle or do not readily conform to templates of progress or economic importance. The case of holography is an excellent illustration of these points. An unusually wide-ranging subject, holography has attracted competing interpretations of intellectual novelty, technological application, and cultural significance. This paper examines the history of museum collections and exhibits of holography from the explosion of interest in the technique in 1964 to the end of the twentieth century. I argue that holography presents a particular challenge to museum collections and to popular representations of the history of science and technology. (shrink)

It is shown that the constructive four-valued logic N4 can be faithfully embedded into the modal logic S4. This embedding is used to obtain complete, cut-free display sequent calculi for N4 and C4, the modal logic of consistency over N4. C4 is a natural monotonic base system for semantics-based non-monotonic reasoning.

Resumo Neste artigo, tentar-se-á reconstruir e defender a noção de “especificidade média” que se refere ao cinema. Começar-se-á por discutir a ontologia de um certo tipo de exibição visual, geralmente encontrada em conexão com uma vasta gama de obras cinematográficas. Argumentar-se-á que estas exibições têm uma natureza essencial ou real. Obras construídas em torno de tais exibições estão aptas a manifestar certas qualidades e poderes peculiares. Assim, o “meio de cinema” consiste em parte, num tipo particular de meio veicular e, (...) de várias propriedades nem sempre manifestas distintas dele. Ao discutir-se o conceito de “meio”, considera-se também um sentido em que esta noção é negligenciada, a saber, que as competências e habilidades pessoais operam uma mediação entre a concepção de uma exibição e a sua produção. Prosseguir-se-á, argumentando, que apesar dos defeitos da “especificidade média”, proveniente de uma versão da teoria clássica do cinema, o cinema como uma forma de arte ou corpo de obras de arte, é ou tem um “meio especial” dotado de distintas propriedades artísticas. Palavras-chave : essencialismo, medium specificity, medium, obra, ontologia do cinema, valor artísticoIn this paper, I try to reconstruct and defend the notion of medium specificity as it relates to cinema. I begin by discussing the ontology of a certain kind of visual display commonly found in connection with a vast range of candidate cinematic works. These displays, I argue, have an essential or real nature. Works constructed around such displays are apt to manifest certain qualities and powers peculiar to displays of that kind. Thus cinema’s medium consists in part of a particular type of vehicular medium and various not always manifested properties distinctive to it. In discussing the concept of medium, I also consider a neglected sense of this term, namely, personal abilities and skills that mediate between one’s designing a certain display and one’s producing a matching object or result. I go on to argue that, despite the defects of classic film theory’s version of medium specificity, it is true that cinema, as artform or body of artworks, is or has a special medium endowed with distinctive artistic properties. Keywords : artistic value, essentialism, medium specificity, medium, ontology of cinema, work. (shrink)

This article addresses the issue of how team identity is constructed between two people during a series of regular meetings of a work group in Serbia. Using conversation analysis to investigate social actions, this study looks at the recurrent construction of an implicit team identity by focusing on management of speaking rights and co-construction of units, and displays of knowledge and accountability. With its longitudinal perspective, the article contributes to the existing body of research on teams in interaction in general, (...) as it builds upon previous research on interactional parties and conjoined participation. The results are especially relevant for the investigations of teams in meetings, as they provide evidence of how formal features of interaction are recurrently employed to display institutionally relevant epistemics and accountability. (shrink)

Using multimodal conversation analysis, we investigate how novices learning the “inner body” acting technique in the context of a community theater project share their experiences of the bodily exercises through verbal and embodied conduct. We focus on how verbal description and bodily enactment of the experience mutually elaborate each other, and how the experienced sensorimotor and affective qualities are made to be witnessed and recognized by the others. Participants describe their experiences without naming qualities. Instead, a display of the (...) experienced qualities is made accessible to others through coordinating the unfolding talk and bodily conduct. In particular, we show how grammatical and action projection is fulfilled by interconnected verbal and embodied conduct, with body movement and posture giving off ineffable experiential qualities. The moving body appears both as a source of the experience and as a resource for depicting perceived qualities to others; additional resources (non-specific person reference and gaze aversion) contribute to organizing the subjective and intersubjective layers of the reflection of the experiences. The study contributes to and extends recent research on sensoriality in interaction by focusing on phenomena of proprioception and interoception. The data are two cases drawn from 60 h of video-recordings made in the context of a devised community theater project. The data are in Finnish with English translations. (shrink)

In the December-1989 issue of Analog, I wrote an AV Column entitled “Cold Fusion, Pro-fusion, and Con-fusion” that described and gave my opinions about the recently announced “discovery of cold fusion” by Stanley Pons and Martin Fleischmann. These University of Utah electro-chemists claimed that by electrolyzing D2O on a tabletop, they had produced the nuclear fusion of deuterium nuclei.

Post-Fregean theorists use 'quotation' to denote indifferently both colloquially called quotations (repetitions of prior utterances) and what I call 'displays': 'Rot' means red. Colloquially, quotation is a strictly historical property, not semantic or syntactic. Displays are semantically and syntactically distinctive sentential elements. Most displays are not quotations. Pure echo quotations (Cosmological arguments involve "an unnecessary shuffle") aren't displays. Frege-inspired formal languages stipulate that enquotation forms a singular term referring to the enquoted expression (type). Formalist enquotations differ semantically and syntactically from (...) natural language displays. Call them autonomes, and mark them with stars: *Rot* means red. In formal languages, an unenstarred expression has only one meaning, and an autonome has only one meaning viz., a name (or indexical) designating the unenstarred expression (type). Stars have semantic content and can’t disambiguate. Display punctuation only disambiguates; it says only: This material is displayed. Displays have a semantic function; their marks don't.nDisplays are not terms or lexical items. Displays are objects incorporable into utterances. Such incorporation enables them to be linguistically appropriated much as we appropriate speech-external objects by extrasentential supplementation (e.g., gesturing) to identify the extension of a term by ostending the object -- but now without any extrasentential supplement. Displays are always adjunctive to an (implicit or explicit) ostensionable term, a term whose extension is identifiable by ostending an object. The display-ostensionable term extension relations are various. A display may (1) be the term's referent, or (2) represent the term's extension by (a) replicating or (b) instantiating or (c) expressing the term's referent, or (e) instantiating the property the term predicates. (shrink)

ABSTRACT It has become standard to conceive of metalinguistic disagreement as motivated by a form of negotiation, aimed at reaching consensus because of the practical consequences of using a word with one content rather than another. This paper presents an alternative motive for expressing and pursuing metalinguistic disagreement. In using words with given criteria, we betray our location amongst social categories or groups. Because of this, metalinguistic disagreement can be used as a stage upon which to perform a social identity. (...) The ways in which metalinguistic disagreements motivated in this way diverge in character from metalinguistic negotiations are described, as are several consequences of the existence of metalinguistic disagreements motivated in this way. (shrink)

The protection of cultural relics has always been an important issue in the field of museums and archaeology. With the development of Internet of Things technology, the security system of the museum is more intelligent and integrated. In order for the museum display system to keep up with the intelligent age, this article mainly studies the research and realization of the museum showcase system based on the Internet of Things technology in a smart environment. Before the start of the (...) experiment, we developed the overall design of the system, including three functional modules: temperature module, illumination module, and monitoring module. The experiment is done mainly for system testing. The performance test of the sensor module needs to sample the temperature and humidity sensor to verify the accuracy of the temperature and humidity signal collected in the instrument circuit. The light information collection test uses the ADC sampling inside the CC2530 to obtain the required data and judges whether these temperature, humidity, and light intensity values exceed the preset values. The serial port needs to be initialized to carry out data communication and transmission normally. After the receiving end finishes receiving, the sending end will clear the data buffer to prepare for the next data transmission. The experimental data show that the error between the predicted value and measured value of the temperature system is about 3°C, which is within the allowable error range of the experiment. The results show that the system has perfect functions, is safe and reliable, meets the expected requirements, and has good practicability. (shrink)

The aim of this paper is to introduce and explain display calculi for a variety of logics. We provide a survey of key results concerning such calculi, though we focus mainly on the global cut elimination theorem. Propositional, first-order, and modal display calculi are considered and their properties detailed.

We formulate a unified display calculus proof theory for the four principal varieties of bunched logic by combining display calculi for their component logics. Our calculi satisfy cut-elimination, and are sound and complete with respect to their standard presentations. We show how to constrain applications of display-equivalence in our calculi in such a way that an exhaustive proof search need be only finitely branching, and establish a full deduction theorem for the bunched logics with classical additives, BBI (...) and CBI. We also show that the standard sequent calculus for BI can be seen as a reformulation of its display calculus, and argue that analogous sequent calculi for the other varieties of bunched logic are very unlikely to exist. (shrink)

According to the deductivist view of mathematics which became the rule during the nineteenth century, formal proofs working with symbolic formulas replaced the intuitive knowledge that used to be gained by the step-by-step construction of geometric fgures and diagrams. Twentieth century epistemological refection on symbolic formulas and formal proofs, however, took them to be diagrams respectively exhibiting formal relations and transformations. The claim was also made that, for such diagrams to be proofs, temporal displays of transformations—and of other speech acts—were (...) required. By returning to the signifcant elements of contemporary theories of mathematical proofs, we will here show how these proofs came to be a matter for semiotics and pragmatics as much as for formal logic. Once this is done, we will provide a few arguments against the standard objections to the ability of diagrams to present temporal order or perform speech acts. (shrink)

Given the prevalence of social media, a nascent but important area of research is the effect of social media posting on one’s own self. It is possible that an individual’s social media posts may have predictive capacity, especially in relation to health behavior. Researchers have long used concepts from the theory of reasoned action to predict health behaviors. The theory does not account for social media, which may influence or predict health behaviors. The purpose of this study was to test (...) a model including Facebook alcohol displays and constructs from the theory of reasoned action to predict binge drinking. Incoming college freshmen from two schools (312 participants between 18 and 19 years old) were interviewed prior to (T1) and 1 year into college (T2), and their Facebook profiles were evaluated for displayed alcohol content. Path modeling was used to evaluate direct and indirect paths predicting binge drinking. Path analysis suggested that Facebook alcohol displays at T1 directly predict binge drinking at T2, while alcohol attitude both directly and indirectly predicts binge drinking. Based on these results, a preliminary model of social media presentation and action is discussed. (shrink)

Runaway social selection resulting from partner choice may have shaped aspects of human cooperation and complex sociality that are otherwise hard to account for. Social selection is the subtype of natural selection that results from the social behaviors of other individuals. Competition to be chosen as a social partner can, like competition to be chosen as a mate, result in runaway selection that shapes extreme traits. People prefer partners who display valuable resources and bestow them selectively on close partners. (...) The resulting phenotypic covariance between displays and preferences gives fitness advantages to both, creating runaway selection that could shape a whole suite of prosocial traits including altruism, moral capacities, empathy, and theory of mind. Even though they give a net fitness benefit, traits at the endpoint of runaway social selection can have substantial deleterious effects on other traits such as viability, ability to accumulate resources, or vulnerability to mental disorders. Social selection forces arising from self-interested partner choices may be an invisible hand that shaped capacities for commitment, altruism, and other prosocial capacities of the human social brain. (shrink)

We compare several methods of implementing the display (sequent) calculus RA for relation algebra in the logical frameworks Isabelle and Twelf. We aim for an implementation enabling us to formalise within the logical framework proof-theoretic results such as the cut-elimination theorem for RA and any associated increase in proof length. We discuss issues arising from this requirement.

Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns. One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these forms. Finally, (...) she wonders how photography affects all these questions. This comment addresses portraiture not so much in terms of the four fidelities, but with another quartet of concepts: four ordinary types of ‘display’, in terms of which we see how artists’ self-expression is possible in all these forms, also including photography. Its key idea is that portraits are displays simply by being pictures or sculptures, which are kinds of artifacts, hence things that we perceive as having intentional affordance: that is, as being intentionally made ‘for’ something. (shrink)

The display of artefacts always implies an external mediation that influences, and often codifies, the reception of the exhibits. Objects are manipulated, restored, appropriated, staged, in short displayed, through various representational strategies that include pedestals, labels, and showcases. These elements, that we could define as parerga, are often ignored because of their utilitarian function. Yet, they play an important role in the history of the artefacts and define the setting in which the objects can exert their agency. They not (...) only shape their meaning, but also determine the effect that these artefacts have on their viewers. Framing devices create the conditions for interactions between the individual and the object to take place. This publication aims to explore the relation between artefacts and viewers as they are manifested in framing devices, and to develop a new theoretical framework for thinking about the power of objects on display. (shrink)

This feminist analysis focuses on sexual harassment within a specific category of jobs known as display work, where primarily women’s bodies are commodified and sold to consumers, and often through the conduits of powerful male industry leaders. Using qualitative content analysis methods to analyze 88 subjective, first-person narratives of harassment from 70 models working within the fashion business, I describe how the commodification of bodies interacts with the particular features of the modeling industry—the premium placed on youth, ambiguous industry (...) demands, and the presence of kingmakers—to produce an environment in which opportunities for sexual harassment can proliferate. All these factors impose extreme worker vulnerability costs on predominantly women and ultimately contribute to maintaining gender-based, hierarchical power differentials between men wielding authority within the industry and these models over time. (shrink)

A rarely studied motive for engaging in face-to-face arguing is to display one’s identity. One way people can manage their impressions is to give reasons for their commitments. This appears to be the first study to focus on this reason for arguing. 461 undergraduates recalled an episode in which they had argued to display own identity. They filled out trait measures as well as instruments describing the episode. Identity display arguments do not require controversy, are not very (...) emotional episodes, can partly serve many communication goals, and are polite. People who have high predilection to argue for identity display are both self- and other-oriented, although the correlations with self-oriented measures are stronger. This study not only describes episodes containing arguments for identity display, but also indicates the balance between self- and other-orientations that are involved. (shrink)

Displays of eye movements may convey information about cognitive processes but require interpretation. We investigated whether participants were able to interpret displays of their own or others' eye movements. In Experiments 1 and 2, participants observed an image under three different viewing instructions. Then they were shown static or dynamic gaze displays and had to judge whether it was their own or someone else's eye movements and what instruction was reflected. Participants were capable of recognizing the instruction reflected in their (...) own and someone else's gaze display. Instruction recognition was better for dynamic displays, and only this condition yielded above chance performance in recognizing the display as one's own or another person's. Experiment 3 revealed that order information in the gaze displays facilitated instruction recognition when transitions between fixated regions distinguish one viewing instruction from another. Implications of these findings are discussed. (shrink)

Recent advances in our understanding of visual perception have shown it to be a far more complex and counterintuitive process than previously believed. Several important consequences follow from this. First, the design of an effective statistical graphics system is unlikely to succeed based on intuition alone; instead, it must rely on a more sophisticated, systematic approach. The basic elements of such an approach are outlined here, along with several design principles. An overview is then given of recent advances in our (...) understanding of visual perception, including rapid perception, visual attention, and scene perception. It then is argued that the mechanisms involved can be successfully harnessed to allow data to be displayed more effectively than at present. Several directions of development are discussed, including effective use of visual attention, the display of dynamic information, and the effective use of nonattentional and nonconscious perceptual systems. (shrink)