James A. Diefenbeck, Wayward Reflections on the History ofPhilosophyThomas R. Flynn Sartre, Foucault and Historical Reason. Volume 1:Toward an Existential Theory of HistoryMark Golden and Peter Toohey Inventing Ancient Culture:Historicism, Periodization and the Ancient WorldZenonas Norkus Istorika: Istorinis IvadasEverett Zimmerman The Boundaries of Fiction: History and theEighteenth‐Century British Novel.

ABSTRACTThe present study examined the effects of emotions on eye movements, head motion, and iPad motion during reading. Thirty-one participants read neutral, emotionally negative texts and emotio...

Three of Zeno's objections to motion are answered by utilizing a version of nonstandard analysis, internal set theory, interpreted within an empirical context. Two of the objections are without force because they rely upon infinite sets, which always contain nonstandard real numbers. These numbers are devoid of numerical meaning, and thus one cannot render the judgment that an object is, in fact, located at a point in spacetime for which they would serve as coordinates. The third objection, an arrow (...) never appears to be moving, is answered by showing that it only applies to a finite number of instants of time. A theory of motion is also advanced; it consists of a finite series of contiguous infinitesimal steps. The theory is immune to Zeno's first two objections because the number of steps is finite and each lies outside the domain of observation. Present motion is hypothesized to be an unobservable process taking place within each step. The fact of motion is apparent through a summing (Riemann integration) of the steps. (shrink)

Our most fundamental concepts of musical motion and space, used by laypeople and music theorists alike, are defined by conceptual metaphors that are based on our experience of physical motion. We analyze the 3 most important metaphors of musical motion: the "MOVING MUSIC" metaphor, the "MUSICAL LANDSCAPE" metaphor, and the "MOVING FORCE" metaphor. We show how each metaphor is grounded in a particular basic experience of physical motion and physical forces and how the logic of physical (...) motion shapes the logic of musical motion. We suggest that our conceptualization of, discourse about, and even our experience of musical motion depend on the logic of these 3 metaphors. (shrink)

These days it is widely agreed that there is no such thing as absolute motion and rest; the motion of an object can only be characterized with respect to some chosen frame of reference.1 This is a fact of which many of us are well-aware, and yet a cursory consideration of the ways we ascribe motion to objects gives the impression that it is a fact we persistently ignore. We insist to the police officer that we came (...) to a full and complete stop at the stop sign, we fret that traffic is moving too slowly, we observe that the sun has dropped below the hills on the horizon, all without ever saying which frames of reference we have in mind. (shrink)

This paper focuses on the relationship between the general metaphysics of the Critique of Pure Reason and the special metaphysics of the Metaphysical Foundations of Natural Science. Kant claims that what distinguishes the latter from the former is that the latter presupposes an empirical concept, namely the concept of matter, whereas the former does not. It is argued that the concept of matter is empirical not in any ordinary sense, but in the sense that it requires actual perceptible objects to (...) be given. Only the system of contingently given, empirical objects of the solar system as described by Newtonian physics, satisfies this requirement. This interpretation suggests that “experience”, whose possibility Kant is exploring in the first Critique, is exclusively “scientific experience”, and that the task of theoretical philosophy thus lies primarily in understanding the conceptual presuppositions of scientific experience. (shrink)

Nowadays, the development of big data is getting faster and faster, and the related research on motion sensing recognition and complex systems under the background of big data is gradually being valued. At present, there are relatively few related researches on vertical Baduanjin in the academic circles; research in this direction can make further breakthroughs in motion sensor recognition. In order to carry out related action recognition research on the lifting action of vertical Baduanjin, this paper uses sensor (...) technology to collect the motion video image of vertical Baduanjin based on the background of big data and uses action recognition technology and related algorithms to obtain the action. Recognize the video image to obtain the data, get the acceleration, angular velocity, and EMG data, and count the end time and duration according to the change of the action. According to the data table and graph change trend compiled at the end of the experiment, we can see the following: after the data is preprocessed, the acceleration signal change range is limited to [−1, 1], and the acceleration change has a clear directionality; and, after 15 lifts of the detected object, its angular velocity in X-axis direction is basically negative. However, when the ninth lift is performed, the angular velocity of the movement in X-axis direction is 36.09, the largest of all angular velocities. When performing the 15th lifting action, the angular velocity of this action in Z-axis direction is −26.05, which is the smallest of all angular velocities. The longest duration of the left muscle discharge during the lifting action of the subject is 15.24 for the tibial anterior muscle and 8.91 for the external oblique muscle with the shortest duration. The longest discharge duration of the right muscle is also the tibial anterior muscle with 12.15, and the shortest duration is the erector spinae with 8.79. (shrink)

Phenomenological description can be interpreted as an explicitation of experience as it is lived. However, there are at least two ways in which the explicitation of experience can be realised: the first is associated with an epistemic model, the second to an ontological model. The first is based on a principle of manifestation, the second on a principle of disposition. The aim of this paper is to show that only the second model, the ontological one, is able to account for (...) the concept of movement understood not as mere displacement but as change. In order to do this, however, it is necessary to introduce a notion that classical phenomenology – starting from the well-known Brentanian definition – considers to be oxymoronic: the notion of physical intentionality. (shrink)