This qualitative study examined hospital nurses’ methods in handling meal and nutrition care during inpatient time, with an underlying focus on undernourished older adult. Observations and interviews were used to document nurses’ methods through the span of a transition (defined by an entry, passage, and exit). The study finds inconsistencies in care methods due to institutional processes restricting both mealtime care and nutritional logging of information throughout hospitalization. It is concluded that the consequences of these inconsistencies must be recognized and (...) that new approaches to meals and nutritional care should be introduced in order to provide greater flexibility. Based on the assumption that mobilizing patient resources is pivotal for meal and nutritional care, it is argued that it may be important to mobilize patient resources during mealtime and in nutritional logging of information in order to increase the visibility of meal and nutritional care in patient transitions within the institution and across settings. Both nurses’ methods and institutions developmental initiatives regarding meal and nutritional care need to accommodate the differences between what in this paper is defined as social‐bodily care and text‐based care. This could be met through care methods that take place with, more than for the patient. (shrink)

Despite widespread agreement that it would be ethical to use somatic cell gene therapy to correct serious diseases, there is still uneasiness on the part of the public about this procedure. The basis for this concern lies less with the procedure's clinical risks than with fear that genetic engineering could lead to changes in human nature. Legitimate concerns about the potential for misuse of gene transfer technology justify drawing a moral line that includes corrective germline therapy but excludes enhancement (...) interventions in both somatic and germline contexts. Keywords: somatic cell, germ line, genetic diseases, genetic engineering, humanness, enhancement, eugenics CiteULike Connotea Del.icio.us What's this? (shrink)

W. V. Quine is one of the most eminent philosophers alive today. Now in his mid-eighties he has produced a sharp, sprightly book that encapsulates the whole of his philosophical enterprise, including his thinking on all the key components of his epistemological stance--especially the value of logic and mathematics. New readers of Quine may have to go slowly, fathoming for themselves the richness that past readers already know lies between these elegant lines. For the faithful there is much to ponder. (...) In this short book, based on lectures delivered in Spain in 1990, Quine begins by locating his work historically. He provides a lightning tour of the history of philosophy (particularly the history of epistemology), beginning with Plato and culminating in an appreciative sketch of Carnap's philosophical ambitions and achievements. This leads, in the second chapter, to an introduction to Quine's attempt to naturalize epistemology, which emphasizes his continuities with Carnap rather than the differences between them. The next chapters develop the naturalistic story of the development of science to take account of how our conceptual apparatus is enhanced so that we can view the world as containing re-identifiable objects. Having explained the role of observation sentences in providing a checkpoint for assessing scientific theories, and having despaired of constructing an empirical criterion to determine which sentences are meaningful, Quine in the remaining chapters takes up a variety of important issues about knowledge. He concludes with an extended treatment of his views about reference and meaning and his attitudes toward psychological and modal notions. The presentation is distinctive, and the many small refinements of detail and formulation will fascinate all who know Quine's philosophy. (shrink)

Asim Barut once,en passant, asked the question “For what transitions of the hydrogen atom do the spectral lines coincide”? It is a pleasure for us to give the answer in this paper.

The idea of structural analysis of the Aeneid has been attacked recently by some who believe that too complicated mathematics are involved in line totals involving a golden mean. The object of the present article is to investigate whether simpler numerical effects are discernible in the poem, and whether these effects were deliberately inserted by Virgil. The significant numbers to be examined in this connexion are 3, 7, 12, and 30. The first three of these are among the ritualistic (...) numbers whose use in the Aeneid was discussed by C. P. Clark, while 30 is among other things part of the series 3, 30, 300 which we encounter in Aen. I. 261–96. (shrink)

The Placidus Glossary was hailed in Ritschl's time as a new clue to Plautus' true text. And Buecheler, Ritschl's pupil, seized on its Alapari est alapas minari, etc., and foisted this verb on Plaut. True. 928. The great Latin Thesaurus quotes the line with this piece of new cloth put on an old garment: nil alapari satiust, miles, instead of the correct philippiari satiust, miles.

Lvcilivs 11191 is preserved for us in Isid. Etym. XIX, iv, 10, where, amongst the articles of a ship's equipment, the plummet of Herodotus is mentioned, with this illustration from Lucilius:Hunc catapiratem puer eodem deforet unctum,plumbi paucillum rudus linique mataxam.

W. E. B. Du Bois was one of the most profound and influential African-American intellectuals of the twentieth century. This volume addresses the complexities of Du Bois' legacy, showing how his work gets to the heart of today's theorizing about the color line.

This essay explores a modern American poem—its verse form, imagery, diction, and rhythm, and, in particular, its cultural echoes, resonances, and overtones. I examine the poem’s explicit invocation of Apelles and crow mythology, but I also show that the implicit context from which it arises, and the one that allows it to speak with the great- est fullness and power, is work that Shakespeare wrote or published between 1606 and 1609. This context allows us to see that, at the heart (...) of the poem, lies the Shakespearean and Platonic analogy between the creation of children and the creation of intellectual work. (shrink)

Scalp-recorded event-related potential (ERP) measures of reading and listening have been proved more sensitive to the time course of syntactic processing than the chronometric and behavioral data described by Caplan & Waters. ERP studies using sentences containing relative clauses indicate that there are individual differences in syntactic processing that appear at the earliest theoretically relevant time points and are attributable to working memory operations.

In the Anthropology, Kant wonders whether the genius or the individual possessing perfected judgment has contributed more to the advance of culture. In the KU, Kant answers this question definitively on the side of those with perfected judgment. Nevertheless, occurring as it does in §50 of the KU, immediately after Kant’s celebration of the genius in §49, this only raises more questions. Kant rejects the genius in favour of the individual of taste as an advancer of culture, yet under what (...) conditions could the genius contribute? And, what threat does the genius really pose to this advance, other than that of penning simple nonsense? This essay attempts to answer these questions, using key texts and overlooked Reflexionen, all of which nest Kant’s concern for the genius in the associated risks of fanaticism. I conclude that, given certain conditions, the genius can contribute in a unique manner to the advance of culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Painting Outside the Lines: Patterns of Creativity in Modern ArtMatthew ZiffPainting Outside the Lines: Patterns of Creativity in Modern Art, by David W. Galenson. Cambridge: Harvard University Press, 2001, 272 pp., $29.95.The relationship between the market value of paintings and the chronological point in an artist's working life when the paintings were produced is the driving mechanism for exploring creativity and innovation in David W. Galenson's book "Painting (...) Outside the Lines: Patterns of Creativity in Modern Art. The working thesis of this book is that Modern artists have worked creatively and innovatively in one of two distinctly different manners. The terminology Galenson uses to describe these distinct ways of working are "finders" and "seekers." Finders are artists like Pablo Picasso, who at age 26, make startling and important innovations with little advance indication that such a burst is about to take place. Seekers are artists like Paul Cezanne, whospend their entire working lives engaged in the pursuit of a singular approach or achievement. The differences between these methodologies are carefully presented through the details of the working lives of a variety of Modern artists. French nineteenth century and early twentieth-century artists and mid-twentieth-century American artists are used as the source data for these comparisons.Early in the book Galenson presents lists of chronological events within the lives of artists and market valuation of their work within this chronology. The dramatic clarity of the relationships presented in this data sets the stage for the detailed information that follows. Factors that in some cases only partly, and in others nearly completely, explain an artist's way of working are offered through biographic information, information about the aesthetic and cultural milieu, and about the economic and educational structures that are predominant during the relevant time in the life of the artist.The relationship between the aesthetic and cultural milieu surrounding an artist and the capacity or inclination of an artist to be innovative is an important aspect of the book's analysis. The scope of the book is limited to Modern artists because of the shift that took place at the outset of Modern art, during the mid 1860s, that brought a strong emphasis on innovation and change for their own sake as an important characteristic within a work of art. This emphasis "created incentives for painters to produce new approaches to art" (p. 111). Prior to the time of Modern art, innovation and change were often unnecessary for an artist to be successful. Modern art introduced the demand that innovation and change be necessary ingredients in art, and therefore the search for innovation became a significant element within the work of many artists. The manner in which this search took place, as presented through the data at hand, reveals how individual artists viewed the need for innovation and change within their own [End Page 123] work. Paul Cezanne, for example, was aware of the impact that his painting was having on the art world, but he insisted that he was not yet finished with discoveries that would reveal the truest expression of his beliefs about aesthetic expression.In the American movement, "Abstract Expressionism," Galenson finds a useful counter example to the art scene in Paris. In the United States, especially during the 1940s and 1950s — the peak years of creative output by Abstract Expressionist artists — the demand for their work was quite low. There were few economically viable outlets for the work of de Kooning, Pollack, Rothko, and the others of this group. Consequently there is a shift in the chronological point at which these artists achieve market value success. Nearly all of these artists receivedrecognition at an older age than the French artists of the late nineteenth and early twentieth centuries.The thesis of the book, that there are two fundamentally different ways of working to produce works of art, is directly applicable to, and useful in, exploring issues of teaching and learning in design education. As a teacher of interior architecture I was interested to follow the details that Galenson presented in support of his analysis of the careers of numerous Modern artists. The methodological differences between seeking and... (shrink)

concepts like numbers or time are thought to be represented in the more concrete domain of space and the sensorimotor system. For example, thinking of past or future events has a physical manifestation in backward or forward body sway, respectively. In the present study, we investigated the reverse effect: can passive whole-body motion influence the processing of temporal information? Participants were asked to categorize verbal stimuli to the concepts future or past while they were displaced forward and backward , or (...) upward and downward . The results showed that future related verbal stimuli were categorized faster during forward as compared to backward motion. This finding supports the view that temporal events are represented along a mental time line and that the sensorimotor system is linked to that representation. We showed that body motion is not just an epiphenomenon of temporal thoughts. Passive whole-body motion can influence higher-order temporal cognition. (shrink)

'The problem of the twentieth-century is the problem of the color-line.' Originally published in 1903, The Souls of Black Folk is a classic study of race, culture, and education at the turn of the twentieth century. With its singular combination of essays, memoir, and fiction, this book vaulted W. E. B. Du Bois to the forefront of American political commentary and civil rights activism. The Souls of Black Folk is an impassioned, at times searing account of the situation of (...) African Americans in the United States. Du Bois makes a forceful case for the access of African Americans to higher education, memorably extols the achievements of black culture (above all the spirituals or 'sorrow songs'), and advances the provocative and influential argument that due to the inequalities and pressures of the 'race problem', African American identity is characterized by 'double consciousness'. This edition includes a valuable appendix of other writing by Du Bois, which sheds light on his attitudes and intentions. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Unmasking the Maxim: An Ancient Genre And Why It Matters Now W. ROBERT CONNOR We live surrounded by maxims, often without even noticing them. They are easily dismissed as platitudes, banalities or harmless clichés, but even in an age of big data and number crunching we put them to work almost every day. A Silicon Valley whiz kid says, Move Fast and Break Things. Investors try to Buy (...) Low and Sell High. Investigative reporters Follow the Money. Others Follow their Bliss. The lavish host thinks, The More the Merrier, while the Modernist architect is sure that Less is More. Captains of Industry whisper to themselves, Me First; captains of sinking ships shout, Women and Children First. Be Prepared was the Boy Scouts’ marching song, while the Proud Boys Stand Down and Stand By, awaiting their marching orders. Maxims are perhaps the smallest members in a large family of speech acts, which among the Greeks included proverbs, oracles, riddles, blessings, curses and lamentations. Not all of these continue in use, but maxims have found companions—mottos, mantras, advertising tag lines and jingles, slogans, political rallying cries, hashtags, three- or four-letter acronyms and 280 character tweets from the goddess Twitter. Familiarity, however, can breed contempt, or at least inattentiveness to the full range of their influence. Sometimes what sounds at first like empty verbiage turns into action. Bruce Lee adapted an old Taoist saying when he said, Be Water, and thereby provided what was for a while a surprisingly effective strategy for protesters in Hong Kong. arion 28.3 winter 2021 6 unmasking the maxim Maxims empower, for good or ill. In the hands of bigots or ideologues, they can turn deadly. Sic Semper Tyrannis shouted John Wilkes Booth after shooting Abraham Lincoln. A manufacturer of assault rifles urged potential customers to Earn Your Man Card. How better to earn it than to obey 8chan, a web site favored by white nationalists, with its own maxim, Embrace Infamy. A devotee of the site did just that, perpetrating a mass shooting in El Paso, Texas. Maxims, then, should not be lightly dismissed. Since the ancient Greeks so relished maxims, they should surely be interrogated to help us better understand the power of these often underestimated speech acts. Before turning to the Greeks, however, the English word maxim needs a closer look. english “maxim” english borrowed maxim from a Latin phrase and boiled it down for everyday use. In Latin writings about logic, the expression maxima propositio, biggest proposition, denoted a statement that did not need to be proved, but could provide the basis for proof of other, lesser propositions. This phraseology goes back at least to Boethius in the sixth century of our era. It’s the equivalent of the generalizations that serve as the major premises in syllogistic logic. If this makes maxims sound like the axioms of geometry, that is historically right. The starting points of plane geometry are propositions that deserve to be accepted; even without proof that they are worthy of belief. That’s the meaning of the term axiōma. No one needs to prove that things equal to the same thing are equal to each other. Think about it; after a while it seems self-evident. It is worthy of assent. We might equally well call such an axiom a maxim; indeed, the earliest (1426) attested use of maxim in English is described in the Oxford English Dictionary as “an axiom; a self-evident proposition assumed as a premise in mathematical, or dialectical reasoning.” W. Robert Connor 7 This usage is now obsolete, but Thomas Jefferson understood the idea behind it, since he believed that there were such truths, waiting to be put to work in building a society where all people were equal and possess certain inalienable rights. He did not feel he had to prove these propositions; they were in his view self-evident. In using these ideas in his draft of the Declaration of Independence, he was, in effect, transferring to politics what Euclid had done in geometry. It was a swift, strategic stroke on his part, for, since self-evident truths require no argument or explanation, they focus discussion not on... (shrink)

Physical boundaries and the earliest topologists. Topology has a relatively short history; but its 19th century roots are embedded in philosophical problems about the nature of extended substances and their boundaries which go back to Zeno and Aristotle. Although it seems that there have always been philosophers interested in these matters, questions about the boundaries of three-dimensional objects were closest to center stage during the later medieval and modern periods. Are the boundaries of an object actually existing, less-than-three-dimensional parts of (...) the object—that is, are solids bounded by two-dimensional surfaces, surfaces by one-dimensional “edges” or “physical lines”, edges by dimensionless “simples”? If not, how does a perfectly spherical object manage to touch a perfectly flat object—what part of the sphere is in immediate contact with the plane, if the sphere has no unextended parts? But if such parts be admitted, are we not then saddled with “actual infinities” of simples, lines, and surfaces spread throughout each continuous object—the boundaries of all the object’s internal parts? Does it help to say that these internal boundaries exist only “potentially”? (shrink)

Sense of agency refers to the sense of initiating and controlling actions in order to influence events in the outside world. Recently, a distinction between implicit and explicit aspects of sense of agency has been proposed, analogous to distinctions found in other areas of cognition, notably learning. However, there is yet no strong evidence supporting separable implicit and explicit components of sense of agency. The so-called ‘Perruchet paradigm’ offers one of the few convincing demonstrations of separable implicit and explicit learning (...) systems. We adopted this approach to evaluate the implicit–explicit distinction in the context of a simple task in which outcomes were probabilistically caused by actions. In line with our initial predictions, we found evidence of a dissociation. We discuss the implications of this result for theories of sense of agency. (shrink)

In this classic text, Kant sets out to articulate and defend the Categorical Imperative - the fundamental principle that underlies moral reasoning - and to lay the foundation for a comprehensive account of justice and human virtues. This new edition and translation of Kant's work is designed especially for students. An extensive and comprehensive introduction explains the central concepts of Groundwork and looks at Kant's main lines of argument. Detailed notes aim to clarify Kant's thoughts and to correct some commonmisunderstandings (...) of his doctrines. (shrink)

Lines of identity in Peirce's existential graphs are logically complex structures that comprise both identity and existential quantification. Yet geometrically they are simple: linear continua that cannot have “furcations” or cross “cuts.” By contrast Peirce's “ligatures” are geometrically complex: they can both have furcations and cross cuts. Logically they involve not only identity and existential quantification but also negation. Moreover, Peirce makes clear that ligatures are composed of lines of identity by virtue of the fact that such lines can be (...) “connected” with one another and can “abut upon” one another at a cut. This paper shows in logical detail how ligatures are composed and how they relate to identity, existential quantification, and negation. In so doing, it makes use of Peirce's non-standard account of the linear continuum, according to which, when a linear continuum is separated into two parts, the parts are symmetric rather than asymmetric, and the one point at which separation occurs actually becomes two points, each of which is a Doppelgänger of the other. (shrink)

Most cells communicate with their immediate neighbors through the exchange of cytosolic molecules such as ions, second messengers and small metabolites. This activity is made possible by clusters of intercellular channels called gap junctions, which connect adjacent cells. In terms of molecular architecture, intercellular channels consist of two channels, called connexons, which interact to span the plasma membranes of two adjacent cells and directly join the cytoplasm of one cell to another. Connexons are made of structural proteins named connexins, which (...) compose a multigene family. Connexin channels participate in the regulation of signaling between developing and differentiated cell types, and recently there have been some unexpected findings. First, unique ionic‐ and size‐selectivities are determined by each connexin; second, the establishment of intercellular communication is defined by the expression of compatible connexins; third, the discovery of connexin mutations associated with human diseases and the study of knockout mice have illustrated the vital role of cell‐cell communication in a diverse array of tissue functions. (shrink)

This Collision examines photographs of Santiago Sierra’s “Line” installations, discovering in these works a unique formulation of the tension between the social and formal aspects of contemporary art. Developing the philosophical implications of this formulation, this essay connects divergent trajectories embodied by the work (i.e. trajectories initiated by the material elements of the works, the body and the line) to divergent trajectories in contemporary aesthetic theory (i.e. the trajectory that emphasises the socio-political possibilities of artistic representation versus the (...) trajectory that emphasises a distinction between the formal aspects of art and the political effects of art). Developing the socio-political approach, I draw on recent work by Claire Bishop who, emphasizing the distinction between consensus and antagonism, argues that Sierra’s work enacts a democratic politics more rigorous than that of “relational art.” Developing a specifically aesthetic understanding of Sierra’s installations, I understand the works in relation to the constructivist interrogation of the nature of the line. Drawing in part on the philosophies of Alain Badiou and Jacques Rancière, I suggest that, whereas a social aesthetic tends to limit art to a didactic function, a geometric aesthetic enables a more rigorously materialist experience of the work without reducing the potential political force of the work. (shrink)

(1992). How to draw the line between metaphoric use and abuse: Are Howe and Lyne out of line on sociobiology? Social Epistemology: Vol. 6, The Rhetoric of Sociobiology, pp. 215-218. doi: 10.1080/02691729208578656.

FEATURED IN EVENTAL AESTHETICS RETROSPECTIVE 1. LOOKING BACK AT 10 ISSUES OF EVENTAL AESTHETICS. This Collision examines photographs of Santiago Sierra’s “Line” installations, discovering in these works a unique formulation of the tension between the social and formal aspects of contemporary art. Developing the philosophical implications of this formulation, this essay connects divergent trajectories embodied by the work (i.e. trajectories initiated by the material elements of the works, the body and the line) to divergent trajectories in contemporary aesthetic (...) theory (i.e. the trajectory that emphasises the socio-political possibilities of artistic representation versus the trajectory that emphasises a distinction between the formal aspects of art and the political effects of art). Developing the socio-political approach, I draw on recent work by Claire Bishop who, emphasizing the distinction between consensus and antagonism, argues that Sierra’s work enacts a democratic politics more rigorous than that of “relational art.” Developing a specifically aesthetic understanding of Sierra’s installations, I understand the works in relation to the constructivist interrogation of the nature of the line. Drawing in part on the philosophies of Alain Badiou and Jacques Rancière, I suggest that, whereas a social aesthetic tends to limit art to a didactic function, a geometric aesthetic enables a more rigorously materialist experience of the work without reducing the potential political force of the work. (shrink)

This book fills a long standing need for a basic introduction to Cognitive Grammar that is current, authoritative, comprehensive, and approachable. It presents a synthesis that draws together and refines the descriptive and theoretical notions developed in this framework over the course of three decades. In a unified manner, it accommodates both the conceptual and the social-interactive basis of linguistic structure, as well as the need for both functional explanation and explicit structural description. Starting with the fundamentals, essential aspects of (...) the theory are systematically laid out with concrete illustrations and careful discussion of their rationale. Among the topics surveyed are conceptual semantics, grammatical classes, grammatical constructions, the lexicon-grammar continuum characterized as assemblies of symbolic structures, and the usage-based account of productivity, restrictions, and well-formedness. The theory's central claim - that grammar is inherently meaningful - is thereby shown to be viable. The framework is further elucidated through application to nominal structure, clause structure, and complex sentences. These are examined in broad perspective, with exemplification from English and numerous other languages. In line with the theory's general principles, they are discussed not only in terms of their structural characterization, but also their conceptual value and functional motivation. Other matters explored include discourse, the temporal dimension of language structure, and what grammar reveals about cognitive processes and the construction of our mental world. (shrink)

types of application of genetic engineering for the insertion of genes into humans. The scientific requirements and the ethical issues associated with each type are discussed. Somatic cell gene therapy is technically the simplest and ethically the least controversial. The first clinical trials will probably be undertaken within the next year. Germ line gene therapy will require major advances in our present knowledge and it raises ethical issues that are now being debated. In order to provide guidelines for determining (...) when germ line gene therapy would be ethical, the author presents three criteria which should be satisfied prior to the time that a clinical protocol is attempted in humans. Enhancement genetic engineering presents significant, and troubling, ethical concerns. Except where this type of therapy can be justified on the grounds of preventive medicine, enhancement engineering should not be performed. The fourth type, eugenic genetic engineering, is impossible at present and will probably remain so for the foreseeable future, despite the widespread media attention it has received. Keywords: genetic engineering, somatic cells, germ cells, enhancement, eugenics, humanhood CiteULike Connotea Del.icio.us What's this? (shrink)

The notion of ontography is characterizable as open-source, both due to its collaborative development, its heterogeneous backgrounds and its broad applicability. In my paper, I concretize these open-source aspects of ontography firstly by redefining it with reference to E. Winkler’s dialogue Die Erkundung der Linie and secondly by applying it to the Gestalttheoretical topics of figure-ground reversals and bidirectional part-whole relations.

This book is a revised and expanded edition of three lectures delivered by the author at Wake Forest University in 1979. Long out of print, in its new edition it should be a valuable resource for scholars and teachers of the philosophy of religion. The first two lectures, after a critique of the incompleteness of St. Thomas Aquinas's famous Five Ways of arguing for the existence of God, explore lesser-known resources of Aquinas's philosophical ascent of the mind to God: the (...) unrestricted dynamism of the human spirit as it reaches toward the fullness of being, and the strictly metaphysical ascent to God from finite to infinite, in the line of Aquinas's later, more Neoplatonically inspired, metaphysics of participation. The third, and most heavily revised, lecture is a critique of Whitehead's process philosophy, distinguishing Aquinas more sharply and critically from Whitehead than in the first edition. (shrink)

The passage is thought to refer to the efforts of the Macedonians to honour the memory of their dead king. Who are meant by reges is not at all clear, and summa nituntur opum ui, as we may infer from other passages where the same or a similar expression is used, can hardly refer to anything but the labour of the hands. Probably we ought to read regis, i.e. Philippi. The lines will then refer to the work of the people.

A well-known objection to divine simplicity holds that the doctrine is incompatible with God’s contingent knowledge. I set out the objection and reject two problematic solutions. I then argue that the objection is best answered by adopting an “extrinsic model of divine knowing” according to which God’s contingent knowledge, which varies across worlds, does not involve any intrinsic variation in God. Solutions along these lines have been suggested by others. This paper advances the discussion by developing and offering partial defenses (...) of three such models. (shrink)