In several experimental conditions, neuronal excitation at the perirhinal cortex (PC) does not propagate to the entorhinal cortex (EC) due to a “wall” of inhibition, which may help to create functional coupling and un‐coupling of the PC and EC in the medial temporal lobe. However, little is known regarding the coupling control process. Herein, we propose that the deep layer of area 35 in the PC plays a pivotal role in opening the gate for coupling, thus allowing the activity in (...) the PC to propagate to the EC. Using voltage‐sensitive dye imaging for the brain slices of rodents, we show that a slowly inactivating potassium conductance in this area is essential to induce excitation overtaking the inhibitory control. This coupling between the distinct neural circuits persists for at least 1 h. We elucidate further implications of this network‐level plastic behavior and its mechanism. (shrink)

The osmotic activity produced by internal, non‐permeable, anionic nucleic acids and metabolites causes a persistent and life‐threatening cell swelling, or cellular edema, produced by the Gibbs‐Donnan effect. This evolutionary‐critical osmotic challenge must have been resolved by LUCA or its ancestors, but we lack a cell‐physiology look into the biophysical constraints to the solutions. Like mycoplasma, early cells conceivably preserved their volume with Cl−, Na+, and K+‐channels, Na+/H+‐exchangers, and a light‐dependent bacteriorhodopsin‐like H+‐pump. Here, I simulated protocells having these ionic‐permeabilities and inhabiting (...) an oceanic pond before the Great‐Oxygenation‐Event. Protocells showed better volume control and stable resting potentials at lower external pH and higher temperatures, favoring a certain type of extremophile life. Prevention of Na+‐influx at night, with low bacteriorhodopsin activity, required deep shutdown of highly voltage‐sensitive Na+‐channels and extremely selective K+‐channels, two conserved features essential for modern neuronal encoding. The Gibbs‐Donnan effect universality implies that extraterrestrial cells, if they exist, may reveal similar volume‐controlling mechanisms. (shrink)

A main objective of this study is to assess the opinions of 50 behavioral health patients on selective control over their behavioral and physical health information. We explored patients' preferences regarding current consent models, what health information should be shared for care and research and whether these preferences vary based on the sensitivity of health information and/or the type of provider involved. The other objective of this study was to solicit opinions of 8 behavioral health providers on patient-driven granular control (...) of health information and potential impact on care.Electronic surveys were implemented at an outpatient Behavioral Health facility that provides care for behavioral health patients with non-serious mental illnesses. The Patient Survey included questions regarding patients' demographics and about their concerns and preferences for data sharing for care and research. The Provider Survey included questions about their view on the current consent process and perceptions on barriers and facilitators to implement patient-controlled granular consent models.This novel study provides valuable preliminary data that can help guide future studies to better understand privacy choices of this underrepresented patient group. (shrink)

An increasing number of studies indicate that changes in cytosolic free Ca2+ ([Ca2+]c) mediate specific types of signal transduction in plant cells. Modulation of [Ca2+]c is likely to be achieved through changes in the activity of Ca2+ channels, which catalyse passive influx of Ca2+ to the cytosol from extracellular and intracellular compartments. Voltage‐sensitive Ca2+ channels have been detected in the plasma membranes of algae, where they control membrane electrical properties and cell turgor. These channels are sensitive to (...) 1,4‐dihydropyridines, which in animal cells specifically affect one class of voltage‐regulated plasma membrane Ca2+ channel. Ca2+‐permeable channels with different pharmacological properties have been found in the plasma membrane of higher plants. Recent evidence suggests the existence of two discrete classes of Ca2+ channel co‐resident in the vacuolar membrane (tonoplast) of higher plants. The first is gated by inositol 1,4,5‐trisphosphate, and bears a number of similarities to its animal counterpart which is located in the endoplasmic reticulum (ER). The second tonoplast Ca2+ channel is voltage‐operated. However, the specific roles of these tonoplast channels in signal transduction have yet to be elucidated. (shrink)

An experiment aimed at detecting a DC voltage across a conductor induced by the steady magnetic field of a coil, carried out in 1998, provided a positive (although preliminary) evidence for such an effect, which might be interpreted as a breakdown of local Lorentz invariance. We repeated in 1999 the same experiment with a different experimental apparatus and a sensitivity improved by two orders of magnitude. The results obtained are discussed here in detail. They confirm the findings of the (...) previous experiment, and show, among the others, that the effect is independent of the direction of the current. A possible interpretation of the results is given in terms of a geometric description of the gravitational and the electromagnetic interactions by means of phenomenological, energy-dependent metrics. (shrink)

At present, integrated energy systems have received extensive attention, but there is no basic framework for stability analysis of coupled systems. The injection of a large amount of renewable energy also has a great impact on the stability of the system. This paper focuses on how to analyze the static stability of the coupling system with uncertainty, which mainly considers the uncertainty of wind power generation and photovoltaic power generation and also considers the influence of P2G technology on the whole (...) system. Firstly, this paper analyzes the principles of wind power generation and photovoltaic power generation and constructs the probability model of renewable energy power generation power. Then, the three-point estimation method is used to process the data, and the probability distribution of the unknown quantity is obtained by probabilistic power flow analysis. Finally, the probability distribution of each eigenvalue is obtained by analyzing the sensitivity of the characteristic roots to the voltage. Thus, the static stability of the system is judged. The applicability of proposed methodology is demonstrated by analyzing an integrated IEEE 14-bus power system and a Belgian 20-node gas system in this paper. (shrink)

The losses in the radial distribution system are inevitable which needs to be minimized for the proper transmission of power to the end customers. This problem can be solved by the allocation of capacitor banks at proper locations with appropriate sizing. These allocations need an efficient approach for the performance enhancement of RDS. In this paper, several metaheuristic techniques such as particle swarm optimization, Harmony search, Bat, Cuckoo, and Grey-wolf algorithms are employed to find the size of capacitor banks. Loss (...) sensitivity analysis is considered for the indication of candidate buses where a capacitor has to be installed to reduce the total system losses and ultimately increase efficiency. Cost-effectiveness, power loss minimization, and voltage enhancement can be determined and compared for these 5 techniques and are implemented on the IEEE-34 bus system to illustrate the efficacy of each of them. The results show the advantages and drawbacks of the techniques separately. The simulations are carried out in MATLAB. (shrink)

The explanation of inertia based on “Mach's principle” is briefly revisited and an experiment whereby the gravitational origin of inertia can be tested is described. The test consists of detecting a small stationary force with a sensitive force sensor. The force is presumably induced when a periodic transient Mach effect mass fluctuation is driven in high voltage, high energy density capacitors that are subjected to 50 kHz, 1.3 kV amplitude voltage signal, and threaded by an alternating magnetic (...) flux of the same frequency. An effect of the sort predicted is shown to be present in the device tested. It has the expected magnitude and depends on the relative phase of the Mach effect mass fluctuation and the alternating magnetic flux as expected. The observed effect also displays scaling behaviors that are unique to Mach effects. Other tests for spurious signals suggest that the observed effect is real. (shrink)

Short-term or working memory provides temporary storage of information in the brain after an experience and is associated with conscious awareness. Neurons sensitive to the multiple stimulus attributes comprising an experience are distributed within many brain regions. Such distributed cell assemblies, activated by an event, are the most plausible system to represent the WM of that event. Studies with a variety of imaging technologies have implicated widespread brain regions in the mediation of WM for different categories of information. Each (...) kind of WM may thus be expected to involve many brain regions rather than a local, uniquely dedicated set of cells. Neurons in a distributed “cell assembly” may be self-selected by their temporally coherent activations. The process by which this fragmented representation of the recent past is reassembled to accomplish essentially automatic and reliable recognition of a recurrent event constitutes an important problem. One plausible mechanism to achieve the identification of past with previous events would require that the representational system mediating WM must coexist in spatial extent and somehow overlap in temporal activation with cell ensembles registering input from subsequent events. The detection of such a postulated mechanism required an experimental approach which would focus upon spatial patterns of coherent activation while information about different events was stored in WM and retrieved, rather than focusing upon the temporal sequences of activation in localized regions of interest. For this purpose, the familiar delayed matching from sample task was modified. A series of information-free flashes, or “noncontingent probes,” was presented before an initial series of visual information items, the Priming Sample, which were to be held in WM during a Delay Period. A second series of visual information items were then presented, the Matching Sample. The task required detection of any item in the second series which had beenabsentfrom the initial series. Thirty such trials with a particular category of visual information constituted a single task. Several DMS tasks with this standardized design, but with different categories of visual information, were presented within each test session. The information categories included letters of the alphabet, single digit numbers, or faces from a school yearbook. Event-related potentials , were computed from 21 standardized electrode placements, separately for information-free probes and for information items in each interval of the trials within a task. Because each electrode is particularly sensitive to coherent activation of neurons in the immediately underlying brain regions, topographic maps were constructed and interpolated across the surface of the scalp. The momentary fluctuations of the resulting voltage “landscapes” throughout the task were then subjected to quantitative analysis. Distinctive landscapes sometimes persisted for prolonged periods, implying sustained engagement of very large populations of neurons. “Difference landscapes” were constructed by subtraction of topographic maps evoked by noncontingent probes during the Delay Period from maps of probe ERPs before the presentation of the initial information in the Priming Sample. Such probe difference landscapes displayed recurrent high similarity to momentary landscapes elicited during subsequent presentation of the information items in the Matching Sample. It seemed as if the distributed cell assembly continuously engaged by mediation of WM of the diverse attributes of the initial stimuli was being dynamically compared to the ensembles engaged by registration of the subsequent stimuli. Spatial Principal Component Analysis was applied to the sequences of momentary voltage landscapes observed throughout trials of each task. This method sought a small number of spatial patterns with which these large sets of inhomogeneous spatial distributions of voltage could be reconstructed. This is the spatial analog of the reconstruction of local ERPs by temporal principal components, as often described previously. Five Spatial Principal Components were found which accounted for about 90% of the total variance of voltage across the surface of the scalp throughout every task. Theloadings,or distinguishing topographic features, of these SPCs, were highly similar during every cognitive task for every subject. However,factor scores,or relative average contribution to the overall voltage distributions, of the different SPCs varied substantially among subjects between the tasks and momentarily within successive intervals of each task. These five SPCs may reflect coherent activation of huge distributed ensembles of neurons which comprise independent but interacting functional brain subsystems. These subsystems may correspond to basic resources available to individuals for allocation to mediate conscious evaluation of information during cognitive activity, providing a filter to bind together fractionated representations of the past to evaluate the present. (shrink)

The cyclic GMP-gated channel responds to changes in free intracellular cGMP, and as a result, it plays a central role in the phototransduction process in rod and cone photoreceptor cells. Recent biochemical, immunochemical, and molecular biology studies indicate that this channel consists of a complex of two distinct subunits and one or more associated proteins. Primary structural analysis indicates that the a and (3 subunits contain a cGMP-binding domain, an even number of membrane-spanning segments, a voltage sensor motif and (...) a pore region. The latter two features are found in voltage-gated channels and suggest that these two classes of channels have evolved from the same ancestral channel protein. A working model for the membrane topography of the channel subunits is proposed based on immunogold labeling studies and sequence analysis. Recent studies also indicate that calmodulin binds to the 240 kDa protein of the channel complex and modulates the sensitivity of the channel for cGMP in a Ca2+-dependent manner. The molecular properties of the channel complex and the possible role of Ca2+-calmodulin modulation of the channel during photoactivation and photorecovery are discussed in relation to the current mechanism of phototransduction in photoreceptor cells. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

A central goal of typological research is to characterize linguistic features in terms of both their functional role and their fit to social and cognitive systems. One long-standing puzzle concerns why certain languages employ grammatical gender. In an information theoretic analysis of German noun classification, Dye, Milin, Futrell, and Ramscar enumerated a number of important processing advantages gender confers. Yet this raises a further puzzle: If gender systems are so beneficial to processing, what does this mean for languages that make (...) do without them? Here, we compare the communicative function of gender marking in German to that of prenominal adjectives in English, finding that despite their differences, both systems act to efficiently smooth information over discourse, making nouns more equally predictable in context. We examine why evolutionary pressures may favor one system over another and discuss the implications for compositional accounts of meaning and Gricean principles of communication. (shrink)

In this paper, we examine Sextus Empiricus' treatise Against the geometers . We first set this treatise in the overall context of the sceptic's polemics against the liberal arts. After a discussion of Sextus' attitude to the quadrivium , we discuss the structure, the sources and the target of the Against the geometers . It appears that Euclid is not Sextus' source, and neither he, nor the professional geometers, seem to be Sextus' main targets. Of course, Sextus never really makes (...) clear his precise target, but his attacks are rather directed against geometry as a means of modelling the physical world, thus ruining the support geometry was intended to bring to the physical part of dogmatic philosophy. (shrink)

Symbols enable people to organize and communicate about the world. However, the ways in which symbolic knowledge is learned and then represented in the mind are poorly understood. We present a formal analysis of symbolic learning—in particular, word learning—in terms of prediction and cue competition, and we consider two possible ways in which symbols might be learned: by learning to predict a label from the features of objects and events in the world, and by learning to predict features from a (...) label. This analysis predicts significant differences in symbolic learning depending on the sequencing of objects and labels. We report a computational simulation and two human experiments that confirm these differences, revealing the existence of Feature-Label-Ordering effects in learning. Discrimination learning is facilitated when objects predict labels, but not when labels predict objects. Our results and analysis suggest that the semantic categories people use to understand and communicate about the world can only be learned if labels are predicted from objects. We discuss the implications of this for our understanding of the nature of language and symbolic thought, and in particular, for theories of reference. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Demea's Departure James Dye Although Demea's departure atthe end ofpart 11 is one ofthe dramatic highlights ofthe Dialogues,1 it has prompted little comment. That is a pity, since it is a striking departure from Hume's Ciceronian model in De natura deorum, and the motivation for the change is far from clear. What is clear is that to this point Philo and Demea have been informal allies. The conclusions ofPhilo's (...) sceptical arguments have dovetailed nicely with Demea's negative theology—an alliance, as it were, between reason aware of its own failure and faith which accepts the invincible mysteriousness of the divine. Both distrust reason's competence to attain knowledge of God. After Demea's departure, Cleanthes and Philo seem to embark on a more conciliatory relationship for which the preceding parts have so ill-prepared the reader that Philo's "reversal" or "confession" in part 12 has become a standard exegetical problem in the literature. If Demea must go to facilitate the reconciliation ofPhilo and Cleanthes, what motivates his exit now? The usual view takes the departure to be motivated by Demea's unhappiness with Philo's disquisition on evil. This is so vague as to be useless, especially since through most of part 10 Demea eagerly co-operates with Philoin describinglife in terms which make thereaUty of evil all the more compelling. If the dialogue is psychologically coherent, the subsequent conversation must introduce something else tomotivate Demea's departure. Whatis ofsuch significance that Hume chooses to punctuate it with the dramatic flourish of Demea's exit? It does have much to do, I think, with something Philo says, but not about "the problem ofevil" as that is usually construed. It has something to do with the problem of evil, but more with the implications of what Philo says than with his explicit claims. It will be necessary, however, to setthese factorsin theircontext; andfor that purpose,let's startwith part 9. Part 9 Many have located the beginnings ofa Demea-Philo rupture in part 9, not in Demea's perception ofPhilo, but in Philo's willingness to attack Demea. Specifically, Philo has commonly been taken to approve Cleanthes'criticisms ofDemea's argument and to add his own to them. The temptation to interpret Philo as endorsing Cleanthes' criticisms is particularly strong because those criticisms seem to echo Volume XVIII Number 2 467 JAMESDYE characteristically Humean positions. However, in this context, as criticisms ofDemea's argument, they are question-begging and, in fact, backfire on Cleanthes.2 Moreover, Philo does not say that he accepts Cleanthes'arguments. (Heisperhaps astonished that Cleanthes, inhis eagerness to attack any view which smacks of "old-fashioned" a priorism, can forcefully espouse views which undercut his own position.)3 His first remarks after Cleanthes' exceptionally spirited attack on Demea strongly resemble his remarks in part 2 following Demea's equally spirited initial objection (appealing to tradition and authority) to Cleanthes' argument.4 Both responses are playfully ironic, and we should no more presume that Philo endorses Cleanthes' argumentation in part 9 than we should assume him to endorse Demea's in part 2. Nor are Philo's own contributions to part 9 such as to give affront to Demea. He pointedly classifies the first ofthe two points he makes as "upon another topic" (D 191). Then he invokes as an example the fact that adding the digits ofany product of9 always yields either 9 or some lesser product of 9. The point of the example is that this fact, which initially seems marvellous and inexplicable, ceases to astonish one who understands mathematics sufficiently well to see that it is arithmetically necessary that the products of 9 have this property. Philo claims that it is probable that the similarly astonishing order of the universe may in like manner be determined by some intrinsic necessity in matter, which would seem equally unremarkable to us had we far more thorough knowledge of the nature of matter than we currently possess. The crux ofPhilo's argument is that ifa remarkable regularity or orderfound in certain numbers is numerically necessary, itrequires no further explanation; similarly, ifa remarkable regularity or order in nature is necessary, it does... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:120 A WORD ON BEHALF OF DEMEA Little attention has been given to the a priori argument for God's existence espoused by Demea in Hume's Dialogues concerning Natural Religion. This circumstance is neither surprising nor unjustified. Given Hume's well-known theological sympathies, certainly no one would be tempted to regard Demea as Hume's spokesman. Demea's argument plays so small a role in the Dialogues as to suggest that Hume does (...) not take it at all seriously. He may present it only to establish that he is aware of alternative arguments for God's existence, but thinks them even less successful than the design argument and hence undeserving of extensive critique. Yet, if a philosopher criticizes an argument he deems unworthy of respect, he should still provide sound, not spurious, reasons for rejecting it. This is exactly what D. C. Stove has argued that Hume fails to do in Part IX of the Dialogues, assuming, as is generally done, that the speeches of Cleanthes and Philo present reasoning that Hume would personally endorse. Stove argues that most of the criticisms of Demea's argument are "extremely defective, and that they even include an inconsistency" (Stove, p. 300). This contention has been challenged by Donald Stahl, who has published a succinct point by point rebuttal of Stove's contentions.3 The Stove-Stahl controversy only deals with the reasoning presented in paragraphs 5, 6, 7, and 10 of Part IX because those are the contentions Stove attacks. He has "nothing to say against" the criticisms presented in paragraphs 8 and 9, which he assumes will be generally agreed to be 121 less important than the others (Stove, p. 308). He totally ignores the argument of paragraph 11. However, I am not convinced that the criticisms of these paragraphs are less important and I do have something to say against them. Consequently, instead of intervening directly on either side of the dispute between Professors Stove and Stahl, I shall attend principally to the argumentation of paragraphs 8, 9, and 11. I shall (1) summarize Demea's argument, (2) argue for the significance of the criticisms of paragraphs 8-9, (3) examine those criticisms, and (4) assess the role of Philo's concluding remarks in paragraphs 10-11. 1. Demea's Argument Early on Hume has Demea speak so obviously inconsistently as to make the reader wonder whether this character is supposed to think at all about the implications of the claims he espouses. At the beginning of Part II, he proclaims that God's existence is surely not at issue, since no one of common sense... ever entertained a serious doubt with regard to a truth so certain and self-evident." The nature of God is the only proper object of theological inquiry, and that is "altogether incomprehensible and unknown to us" (D 141)! Given such a radically apophatic position (Hume calls it "mystical"), it is hardly surprising that the sceptical Philo readily concurs, once he specifies that he takes 'God' to mean just "the original cause of this universe (whatever it be)" (D 142). But Demea immediately buttresses his alleged self-evident truth by appealing to the authority of Father Malebranche and the whole tradition of Christian theology, apparently oblivious to the impropriety of 122 supporting an indubitable truth by citing authorities (D 141-142). Further, scarcely more than a page later, after Cleanthes has sketched out the design argument, this same Demea is horrified that Cleanthes gives no abstract arguments or a priori proofs and calls for a "demonstration of the being of a God" (D 143). When, in Part IX, Demea himself undertakes to provide the "simple and sublime argument a priori" (D 188) he expected from Cleanthes, he characterizes the argument as "the common one," which suggests he is more engaged in paraphrasing authority than in thoughtfully arguing. The argument, in fact, as has been generally recognized, closely follows one given by Samuel Clarke in the Boyle Lectures of 1704. 5 Demea begins by assuming that "whatever exists must have a cause or reason of its existence," (D 188) since nothing can cause itself to exist. He then states a dilemma: in tracing the... (shrink)

Increasing emphasis on genetic research means that growing numbers of human research projects in Australia will involve complex issues related to genetic privacy, familial information and genetic epidemiology. The Office of Population Health Genomics (Department of Health, Western Australia) hosted an interactive workshop to explore the ethical issues involved in the disclosure of genetic information, where researchers and members of human research ethics committees (HRECs) were asked to consider several case studies from an ethical perspective. Workshop participants used a variety (...) of approaches to examine the complex ethical issues encountered, but did not consistently refer to the values and principles outlined in the National Statement on Ethical Conduct in Human Research (NHMRC 2007) or apply rational ethical approaches. Overall, the data suggested that both researchers and HREC members may benefit from further education and support regarding the application of ethical frameworks to the issues encountered in genetic research. (shrink)

In this paper, we examine Sextus Empiricus’ treatise Against the geometers. We first set this treatise in the overall context of the sceptic’s polemics against the liberal arts. After a discussion of Sextus’ attitude to the quadrivium, we discuss the structure, the sources and the target of the Against the geometers. It appears that Euclid is not Sextus’ source, and neither he, nor the professional geometers, seem to be Sextus’ main targets. Of course, Sextus never really makes clear his precise (...) target, but his attacks are rather directed against geometry as a means of modelling the physical world, thus ruining the support geometry was intended to bring to the physical part of dogmatic philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:122 HUME ON CURING SUPERSTITION In the first volume of his masterful treatment of the Enlightenment Peter Gay says that "David Hume proclaimed philosophy the supreme, indeed the only, cure for superstition." The context suggests that Hume had great "confidence" in this project and that he shared Diderot's view of the philosopher as the apostle of truth who would teach all mankind. Certainly Hume, in common with his philosophical (...) compatriots, thought that superstition was a great evil. He may also have thought that philosophy was the best weapon with which to oppose superstition. But did he think that it was a "cure" and that the philosopher was a pathfinder for a new and glorious dawn of universal enlightenment? He seems rather to have held a somewhat more modest and circumspect view of what philosophy can accomplish by way of liberating humanity from superstition than did some of his more optimistic contemporaries — a view 2 worthy of closer examination. The purpose of this paper is to explain just what he did think by examining those texts where he writes about the curative virtues of philosophy. So that any shifts in Hume's views may be more apparent, the relevant passages will be considered according to their chronological order. In the conclusion to Book I of the Treatise (1738) Hume characterizes the results of his reasoning as a "forelorn solitude" in which he is separated, not only from the crowd, and from "metaphysicians, logicians, mathematicians, and even theologians," but also from philosophers, who, like all others, follow the inconsistent dictates of imagination in alternating between belief in the continual existence of sensible matter and the 123 reliability of causal reasoning, which teaches us that sensible objects are in us, rather than in external nature (T 265-6). His own philosophical reflections have led to the realization that even the causal "connexion, tie, or energy lies merely in themselves," as certainly as do sensed qualities. Thus the philosophical quest itself, which seeks a knowledge of "the ultimate and operating principle... which resides in the external object," is revealed as a contradictory or meaningless enterprise. We are left with a "very dangerous dilemma, whichever way we answer it," whose horns are precisely superstition and philosophy. That is, we may either "assent to every trivial suggestion of the fancy... often contrary to each other... [which will] lead us into such errors, absurdities, and obscurities, that we must at last become asham'd of our credulity;" or we may "take a resolution to reject all the trivial suggestions of the fancy, and adhere to the understanding" which will lead us to the conclusion that there is "not the lowest degree of evidence in any proposition, either in philosophy or common life" (T 266-8). He believes that philosophy has come to an impasse which he does not know how to escape, and which we commonly deal with by simply ceasing to think about the problem, finding ourselves "absolutely and necessarily determin'd to live, and talk, and act like other people in the common affairs of life" (T 269). Observation of the actual effects of philosophy upon conduct warrants the conclusion that "refin'd reflections have little or no influence upon us," excepting, of course, for that brief time in which those reflections leave us quite agitated and confounded by our inability to provide answers to the questions which most trouble us. 124 Philosophy is here characterized, not as a cure for superstition, but as an equal and opposite mental disposition, whose reflections ultimately undermine its own rational credentials, so that they seem no more valid than those of superstition. He does indeed resort to the therapeutic metaphor, but only to make nature the physician which "cures me of this philosophical melancholy and delirium" by applying that "carelessness and inattention" which he earlier identified as that which "alone can afford us any remedy" for philosophical despair (T 218). So philosophy is itself in need of the cure afforded by amusement and the various "common affairs of life" with which gentlemen occupy themselves. When engaged in those pursuits, philosophy seems individually and socially useless, in effect "an abuse of time" (T 270). If one returns to... (shrink)