The second season of True Detective bears many marks of a classic urban‐noir crime drama. The city is a central character of the narrative. And the relationship between the detectives and the city is one of the crucial elements of the story. This is most obvious in the case of Vinci Detective Ray Velcoro, and apparent to a lesser degree in the cases of Ani Bezzerides and Paul Woodrugh. This chapter examines the philosophical aspect of the relationship (...) between the detective and the city, comparing it to a classical view of the relationship between philosophy and the city, presented by Plato over two millennia ago in his dialogues Apology and The Republic. The Apology tells the story of Socrates on trial. There are some parallels between Socrates and the noir detective on this score, but there are some stark differences as well. (shrink)

Slovenian philosopher and psychoanalyst Slavoj Zizek explains with joke violence make a link between obvious violence and hidden violence. Subjective violence confronts on the television news with its often graphic coverage of wars, murders, assaults, and terrorism. When violence is objective it is less visible, operating under the surface, and is rarely, if ever, featured on the news. The city of Vinci is a place where corruption, immorality, and violence are so commonplace that they are not only tolerated (...) also considered essential parts of life in this forgotten slice of humanity's seedy underbelly. Gangsters, prostitutes, drugs, crooked cops. Frank Semyon is a gangster. Frank is betrayed by the gangsters he trusts, and the city administrator who was responsible for facilitating the land investment goes missing. Through these characters, True Detective taps into the whole system of violence that characterizes the United States—the violence and criminality of international wars. (shrink)

The Renaissance architect, moral philosopher, cryptographer, mathematician, Papal adviser, painter, city planner and land surveyor Leon Battista Alberti provided the theoretical foundations of modern perspective geometry. Alberti’s work on perspective exerted a powerful influence on painters of the stature of Albrecht Dürer, Leonardo da Vinci and Piero della Francesca. But his Della pittura of 1435–36 contains also a hitherto unrecognized ontology of pictorial projection. We sketch this ontology, and show how it can be generalized to apply to representative (...) devices in general, including maps and spatial and non-spatial databases. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; like the (...) words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; like the (...) words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 181-196 [Access article in PDF] Bookmarks What is Genius? Denis Dutton There's a school of thought which holds that there's nothing much of interest that can be said about genius. The root idea is older than Kant, but it was well summarized by him: genius is a natural endowment, deep, strange, and mysterious, at least with respect to putative explanations. Schubert can get up (...) in the morning and before lunch knock off five songs that captivate us hundreds of years later. There's no way for us to account for this, and we ought not to expect, Kant claims, that genius can explain itself either: Schubert doesn't have a clue how he does it.Yet trying to figure out how creative geniuses do it remains a permanent source of fascination, most of it fairly naïve. When the ingénue reporter is sent out by the City Editor to interview the famous, crusty old novelist, the first question is normally, "Where do you get your ideas?" Of course, if the novelist knew that, he'd not be likely to blab it in the press. Kant's point is that he cannot really know; no one can. Monroe Beardsley relays a story about Picasso, who claimed to suffer from "an indigestion of greenness" from walking in the woods on a summer's day: "I must empty this sensation into a picture," Picasso said. "Green dominates it. The painter paints as if in urgent need to discharge himself of his sensations and his visions." Beardsley observes that green indigestion could have been even more plausibly used to "explain" a red painting ("I needed an antidote to all that green"), or a pen-and-ink drawing ("I needed to get away from color"), or anything else. There is in this a general point about why we are so often disappointed by interviews with artists. The artist can do; the artist can't explain how. [End Page 181]It does not follow, however, that nothing of interest can be learned, at least at a descriptive level, about genius. Dean Keith Simonton has spent most of a career looking at the subject as a psychologist, and his Origins of Genius: Darwinian Perspectives on Creativity (Oxford University Press, $27.50) ties together much of his research and that of others in a way that extends thinking on genius far beyond armchair meditations or mere platitudes. At the heart of Simonton's project are two very different ideas: first, he argues that evolution and processes of natural selection provide illuminating models to explain the existence and operation of creative genius in the sciences and the arts. Second, he propounds a rather more dubious thesis, that the process of natural selection itself is an adequate model for understanding genius at work, that the history of human ideas demonstrates a kind of secondary evolution. To these hypotheses, Simonton adds a further Darwinian overlay: he returns repeatedly to the personality and biography of Charles Darwin himself as the paradigm of a life of creative genius. While this has the advantage of anchoring the discussion, giving it a kind of ostinato ground, it diverts Simonton from the manifestations of genius, especially artistic genius, which do not resemble Darwin's personal example.Creative genius is defined by Simonton as the capacity to originate scientific discoveries, artistic works, technical inventions, or engage in political leadership, in a manner that achieves what is conventionally termed eminence. The eminent person creates, discovers, or invents something that passes the test of time and, like the similar test devised by Hume to mark out artistic greatness, appeals to cultures beyond that of the original act of creation. It is not hard for the philosophically trained reader to devise counter-examples to Simonton's general theses, but the value of his book does not require a rigorous definition at the outset. Whatever genius is, and however we might dispute it, there is no doubting that Leonardo Da Vinci, Shakespeare, Newton, and Einstein count as creative geniuses in Simonton's sense. High raw IQ is frequently associated with genius... (shrink)

...If, in some places, backward science determines the remaining period by the lack of optimism only by the number 123456789, then our progressive science expands it to 987654321, which is eight times more advanced than theirs. However, due to the inherent caution of scientists, both sides do not specify the measuring unit of reference — year, day, hour or minute are meant. Leonid Leonov. Collected Op. in ten volumes. Volume ten. M.: IHL, 1984, p.583. -/- The modern men being as (...) a rule is proceeding in three relatively autonomous, but immanently coexisting, and each penetrating dialectically through other, and each contesting even cruelly with other, and each more or less dominating on other, differently in various societies, worlds: the first one of the barbarity, the second one the culture, the third one the civilization... Barbarity is the mode of coexistence of autonomous human societies based on the unlimited will to act so as subject wants to do without any limitations of his activities... Culture is the mode of coexistence of autonomous human societies based on the most ancient testaments, customs, traditions etc of the highestly sacrified appearence... Civilisation is the mode of coexistence of autonomous human societies based on the reasoned or legitimated by social contracts, by profits, by expediency and so more constitutions, institutions etc... -/- Andrei Melnikov-Pechersky in his epic "In the Woods" says that there was a movement among the Old Believers in Russia, or a current that proclaimed Kostroma the new and, it seems, the only true Jerusalem, in an apocalyptic sense, of course, which in its spiritual scale was probably not inferior to the Bogomils, shakers, Mormons, or else and the whole Reformation in potential. In Western Europe, every more or less convex nuance of the history of a state or region (even if it is a small San Marino) is overgrown with almost a dozen institutions, not always state ones, by the way, in which almost every sneeze and step of very ambivalent historical subjects in a broad sense is studied. Especially in the young, but very pretentious America of the United States, which embodies all world justice. In our country, for example, even many leading humanitarian specialists do not realize the spiritual value of the Ipatievsky MONASTERY. The Russian writer Boris Shiryaev, who died quite a long time ago and in a very far abroad, devoted a special part of his documentary and artistic epic of wanderings "The Inextinguishable Lampada" to an entertaining and instructive, tragic fate of a kind of village monarchy in some Villages of the Kostroma province (I could not identify the area, and, frankly, I did not really try) in the early years The Soviet government. At the same time, all Russians learn about the French emperor Napoleon almost with their mother's milk how many percent of cyanide potassium was found in his hair, they reflect on Lermontov's "Airship" (probably, just not to "memorize" the imposed "Borodino" by heart). The events, of course, are incomparable, but the fact is significant. The outstanding national artist (if not to say a thinker of the Chesnyakov level) Grigory Pavlovich Kusochkin was glorified wherever, in whatever catalogues he was not included. Paris, London, New York, St. Petersburg, Moscow... To look at some smear of luminaries like Picasso or Modigliani, international tourist routes are organized in the restaurant toilet using the finest marketing technologies, and we did not even know Grigory Pavlovich by sight until, thank God, a series of TV shows on all Russian channels was dedicated to him in one gulp. Why is this happening? Is it a consequence of poverty or the result of the conscious policy of the ruling elite of the country and the world? The regions of the Kostroma Region are Austria, Switzerland, Bavaria, Armenia, Moldova, and Georgia... Georgia! I served in the army there. In this small but very great country, judging even by the appearance of its President Shevardnadze, although it is smaller than the Kostroma region, there are so many different, but Georgian-speaking peoples! Kakhetians, Meskhetians, Imereti, Iveretians, Mingrelians, Khevsurs... Adjarians (mostly Georgian-speaking Muslims) even have their own autonomy. And some peoples are not Georgian—speaking at all — South Ossetians, Abkhazians, Kurds, Armenians, Greeks, even Assyrians. In the Kostroma Region, and in any Russian "province" — not much less: there are plenty of the same Georgians or Armenians everywhere, quite moderate, loyal, and so on. Having, as a rule, their own officially registered associations within the framework of cultural autonomy. Well done! And Israel! He is the only one with all his "illegal" (and I am for the fact that every nation knows better where its ancestral lands are) territories half the size of the Kostroma region. The total number of Jews worldwide, according to the "Soviet Encyclopedic Dictionary" in 1987, is about 14 million. Meanwhile, the fate of Israel is being preoccupied (it is very instructive how he achieved this!) all the united nations of the world. In the Kostroma Region and its diaspora, it seems to everyone, and especially to its semi-migrant, Varangian leadership. I don't care if they build a public atomic bomb here in the form of a nuclear power plant or not. Because they do not know the value of this land, the greatness of its spirit. Kostroma is a holy land. I will immediately make a reservation that by Kostroma I mean not only the modern region, but the entire area that has ever historically been associated with Kostroma. The USSR is also a part of the great historical Russia. In this sense, even the entire era of the Russian Romanov Empire is the Kostroma region. Or: many toponymic objects of our native land are called mysteriously beautiful: Sharya, Shunga, Shekshema, Sholezhka, - we need to find out what kind of peoples — and where are they now? — we left such euphonious archetypal combinations, because these are our Kostromsky peoples, these are our Kostroma people. Or, say, the classic of American and world sociology Pitirim Alexandrovich Sorokin writes in his autobiographical scientific novel "The Long Way" that he studied at the Khrenovskaya (what a strong word!) teachers' seminary of Kostroma province, but in an administrative row for propaganda activities, gendarmes were taken by sledge to the prison of the city of Kineshma - is this not a fact for Kostroma, and primarily for him, local history, although Kineshma has long been attributed to the Ivanovo region, and Pitirim Alexandrovich is buried on the other side of the planet?! I have not the slightest doubt that Kostroma provided spiritual food, gave birth to and nurtured a huge intellectual diaspora with extremely valuable material on a national, global scale. And this is both in direct and indirect order, in the form of a chain reaction. Apparently, it is easy for an intelligent person to grow up in Kostroma, but it is impossible to live, and somewhere on the contrary. Therefore, it is not surprising that the geneticist academician D. K. Belyaev, who was born in the village of Protasov near Nerekhta, very close to Kostroma, glorified Moscow and Siberia with his discoveries and practical results, which immeasurably enriched the Soviet state treasury with foreign exchange income from the sale of the most valuable fur grown according to the biotechnology developed by him in a much shorter time than it usually turns out in nature. And in Kostroma, most likely, few people know who he is and what he is famous for. I will focus in more detail on one of the aspects of his great life. This happened back in the so-called pre-Perestroika times. In a series of his speeches, Dmitry Konstantinovich, based on the results of his and colleagues' research, emphasized, in his opinion, the determining role of the biological factor in shaping the content of human essence, of course, only in a philosophical, conceptual aspect. For some reason, this was opposed by a geneticist, as they say, persecuted at one time by the "senile" in selectionism (including human nature) by the Michurino-Lysenkoists, academician N. P. Dubinin, which personally remains incomprehensible to me until now. With a grateful curtsey to Academician Dubinin and his point of view, the famous French humanist, member of the Politburo of the French Communist Party Lucien Sav appeared on the pages of the Communist magazine. The material was clearly titled: "Problems are not only scientific, but also political." He very indecently attributed the views of academician Belyaev to "a reactionary ideology that tries to put genetics at its service, and more broadly, biology, in order to present all kinds of social inequalities of all kinds as inherent in nature itself"(1). I would like to see any ideology that does not try to "put this or that at its service," much less something worthwhile... A little later, the editorial of the Communist hit the "biologizers", and soon Dmitry Konstantinovich was gone. In short, it is only on the example of our fellow countrymen that you can write interesting, world-class essays on science and its history, but instead our scientists should fit their global potencies into a page and a half (good yet. if not entirely at their own expense), and then for at least three years to guess whether they will be published or not. Now it no longer surprises me how at one time, when, after reading the listener card I filled out, the sweetest girl from the IPKPON office at USU congratulated me for something. It turned out that the dean of the Faculty of Philosophy of USU, doctor, professor, Honored Scientist, and now academician Konstantin Niko-laevich Lyubutin is a countryman, Kostromsky, or rather Manturovsky by origin, as I write below in the notes — we are Kostromendors. To him, my fellow citizen in the most subtle micropatriotic dimensions, I owe a lot in my professional and social development, even in survival. Because that's how it often turns out: you can be born here, sometimes you can live here... It's very hard. Maybe the Kostroma origin of an outstanding Russian historian of philosophy, organizer of science and education, educator and friend of a galaxy of people devoted to the Motherland and the cause is not a great milestone in the history of the region, but name me at least a dozen Russian cities on the scale of Kostroma, from where such intellectual ones would come out into the world and light luminaries like ours. No matter who you take from the world significance of the pillars of national (and world, and foreign, - even the great Rabbi of Lubavitcher spent three years in exile in a Campfire, — I learned from some foreign voices) history, literature, culture in general, technology, science and so on - you will always find someone, which is very directly related to Kostroma. Pushkin, Lermontov, Gorky. Alexander Nikolaevich Ostrovsky, Pisarev, Uspensky, Katenin, Florensky, Savrasov, Kustodiev, Dyagilev, Mikhalkov, Alexander Alexandrovich Zinoviev; writers, artists, entrepreneurs, revolutionaries, inventors, politicians... In some world-famous for its classic Russian provincialism, Kologriv has been storing, figuratively speaking, unique sketches, if not of Leo-Nardo da Vinci himself, then certainly of his school, almost since the seventeenth century. And not only that. Nevertheless, the well-known Chukhloma to the Fatherland, in addition to thinkers of the rank of Rozanov and Zinoviev (where should domestic philosophers mature and not be born, if not in Chukhloma, Manturov or Khrenknowswhere?), gave an actor of amazing, national, originality — Mikhail Pugovkin, who can not be confused with anyone, a role that no one will repeat. (shrink)

In vertebrate and invertebrate nonmuscle myosins, light‐ and heavy‐chain phosphorylation regulate myosin assembly into filaments, and interaction with actin. Vertebrate non‐muscle myosins can exist in vitro in three main states, either ‘folded’ (assembly‐blocked) or ‘extended’ (assembly‐competent) monomers, and filaments. Light‐chain phosphorylation regulates the ‘dynamic equilibrium’ between these states. The ability of the myosin to undergo changes in conformation and state of assembly may be an important mechanism in regulating the organization of the cytoskeleton and cell motility.

Thomas C. Vinci argues that Kant's Deductions demonstrate Kant's idealist doctrines and have the structure of an inference to the best explanation for correlated domains. With the Deduction of the Categories the correlated domains are intellectual conditions and non-geometrical laws of the empirical world. With the Deduction of the Concepts of Space, the correlated domains are the geometry of pure objects of intuition and the geometry of empirical objects.

Bold and pioneering, this book makes a detailed historical and systematic case that Descartes's theory of knowledge is an elegant and powerful combination of a priori, naturalistic, and dialectical elements meriting serious consideration by both contemporary analytic philosophers and postmodern thinkers. In the course of making this case Thomas Vinci develops a broad reinterpretation of Cartesian thought that unlocks novel solutions to many of the most vexed questions in Cartesian scholarship.

We assess Aristotle's doctrine of the four causes in relation to current research on the development of organisms. Our goals are four-fold: first, to present and critically challenge what has become an orthodox interpretation of Aristotle among biologists; second, to present and defend a more adequate account of organismal development; third, to elaborate and justify a novel account of Aristotle's natural teleology, one at odds with the orthodox interpretation; and fourth, to illustrate how our reading of Aristotle, if right, permits (...) a more fruitful encounter between Aristotle and modern biology than that imagined by Aristotle's latter-day biological interpreters. (shrink)

Resumo: Esse ensaio buscará sondar as relações entre filosofia e literatura, no pensamento de Gilles Deleuze, a despeito de sua parceria conjunta com Félix Guattari, atentando tanto para as concepções de escrita expressas ao longo de sua obra quanto para o modo como essas concepções teriam influenciado o estilo de seus escritos filosóficos. Partindo da premissa deleuziana de que a escrita possui um acentuado lastro clínico, sendo a responsável pela elaboração de um diagnóstico das forças capazes de aprisionar ou calar (...) a vida, procurar-se-á esmiuçar as ressonâncias desse lastro clínico, na concepção de filosofia como ato criativo, elaborada pelo autor. Como hipótese a ser aqui trabalhada, defende-se que a escrita deleuziana - compreendida como portadora de uma literalidade, conforme sustenta François Zourabchivili, ou como encrustada de uma poética imanentista, tal qual sugere Anita Costa Malufe - procuraria produzir uma zona de vizinhança ou indiscernibilidade entre a escrita filosófica, de caráter mais exegético, e a escrita literária, mais afectiva, de modo a produzir um deslocamento na relação do leitor com o ato de pensar.: In this essay we pretend to study the relationship between philosophy and literature in Gilles Deleuze’s thought, despite of his partnership with Félix Guattari, mapping the conceptions of writing throughout his work and considering the influence of these conceptions to forge a certain style in his philosophical texts. Starting from the deleuzian premise that writing has a strong clinical backing - being responsible for the elaboration of a diagnosis of the forces liable to imprison or silence life -, we will examine the resonances of this clinical backing in his conception of philosophy as a creative act. Our hypothesis is that the deleuzian writing - having a certain literality, as François Zourabchivili argues, or encrusted with an immanentism poetics, as Anita Costa Malufe suggests - would produce a so-called neighborhood zone or zone of indiscernibility between philosophical writing, with a more exegetical character, and literary writing, which is more affective, in order to produce a shift in the reader’s relationship with the act of thinking. (shrink)

Despite extinction-based processes demonstrating efficacy in the animal extinction and human anxiety literatures, extinction for substance use disorders has shown poor efficacy. Reasons for this lack of success include common threats to extinction, such as renewal and reinstatement. In recent decades, research on mindfulness for SUD has flourished, and a key aspect of these mindfulness-based interventions includes teaching individuals to stay present with whatever experience they have, even if unpleasant, without trying to change/escape/avoid it. Similarly, CET teaches individuals to not (...) escape/avoid conditioned responses by engaging in drug use behavior. This paper discusses how mindfulness-based research and practices could positively influence CET through future research, with the long-term goal of improving SUD treatment. (shrink)

It seems generally agreed that a theory of sensory episodes that mentions sensory objects and a sensing relation — the ‘act-object’ theory — is unacceptable and should be replaced by some other account. A chief competitor is the Adverbial Theory, and one of its chief advocates is Wilfrid Sellars. While it is clear that there are serious difficulties for the act-object theory not facing the adverbial theory, I will argue that the latter has difficulties of its own.

There is a current debate about the extent to which Academic Freedom should be permitted in our universities. On the one hand, we have traditionalists who maintain that Academic Freedom should be unrestricted: people who have the appropriate qualifications and accomplishments should be allowed to develop theories about how the world is, or ought to be, as they see fit. On the other hand, we have post-traditional philosophers who argue against this degree of Academic Freedom. I consider a conservative version (...) of post-traditional philosophy that permits restrictions on Academic Freedom only if the following conditions are met, Condition 1: The dissemination of the results of a given research project R must cause significant harm to some people, especially to people from oppressed groups. Condition 2: Condition 1 must possess strong empirical support, and which accepts the following assumptions: (1) there is a world of objective facts that is, in principle, discoverable, (2) rational means are the means of discovering it and, (3) rational means requires strong empirical support. I define strong empirical support for an hypothesis h on evidence e in probabilistic terms, as a ratio of posterior to prior probabilities substantially exceeding 1. I now argue in favour of a research policy that accepts unrestricted Academic Freedom. My argument is that there is a formal and general quandary that arises within the standard theory of probability when we apply this account of empirical support to a set of possible causal hypotheses framed in such a way that the “reverse probabilities”, pr(e/h) are 1. I consider various possible ways to escape this quandary, none of which are without difficulties, concluding that a research policy allowing for unrestricted Academic Freedom is probably the best that we can hope for. (shrink)

Este artigo objetiva pensar o debate envolvendo a questão da literalidade na obra de Gilles Deleuze, mormente naquela escrita em parceria com Félix Guattari, a partir de um recuo pelo pensamento do filósofo Henri Bergson. Apresentada como um modo singular de operar com a escrita, a literalidade deleuze-guattariana exigiria que determinadas formulações, mormente aquelas de teor imagético fossem lidas ao pé da letra (a la lettre) ao invés de interpretadas como metáforas. Tendo adentrado em nosso país por meio do dossiê (...) Entre Deleuze e a Educação, publicado em 2005 no periódico Educação & Sociedade, a questão da literalidade fomentou uma discussão acalorada, nomeadamente no campo educacional – dado o fato de um dos participantes, François Zourabichvili, propor uma pretensa teoria de ensino deleuzeana a partir dessa noção. Longe de querer encerrar tal debate, almejamos pensá-lo sob a égide do pensamento bergsoniano, a fim de propor um escape do binarismo estabelecido. (shrink)

The central theme of this study is that Descartes is a teacher who develops his arguments for the different philosophical orientations of his students. Indeed, according to Cunning, so respectful is Descartes of their orientations that he actually misrepresents his own view in the Meditations on central doctrinal matters like the basis for dualism. The exegetical argument for this is the central argument of the book, though many other aspects of the Meditations are discussed in novel and interesting ways. Descartes (...) describes himself as establishing the duality of mental and physical substances in two stages in the Meditations. It is in Meditation II, he says in the Fourth Replies, where he shows that a .. (shrink)

O artigo em questão procurará pensar o tratamento dado por Gilles Deleuze ao Discurso Indireto Livre [DIL] ao longo de sua obra, escrita ou não em parceria com Félix Guattari. Compreendido como uma estratégia discursiva, partimos da hipótese que o DIL possui um papel singular do exercício filosófico de Deleuze em relação à História da Filosofia.; permitindo-lhe escapar da função repressora que essa exerceria sobre o pensamento. Por permitir uma despersonificação do próprio filosofar, ademais, o DIL possibilitaria transmutar a filosofia (...) em atividade criativa e não reflexiva. Em tempos em que Deleuze é cada vez mais lido e comentado, no qual trabalhos de cunho exegético – ou de cunho experimental – surgem em profusão nas áreas de saber as mais diversas, recuperar o uso estratégico do discurso indireto livre por parte do filósofo francês talvez se demonstre uma tarefa profícua. (shrink)

Esse ensaio procurará pensar o ensino de Filosofia na contemporaneidade, compreendendo como um espaço aberto para a forja de exercícios filosóficos, em diálogo com Michel Foucault, em desalinho com a instauração do imperativo da felicidade em nossa sociedade. Em primeiro lugar, experimentaremos apresentar algumas discussões contemporâneas sobre a lógica neoliberal e a construção daquilo que alguns autores diagnosticaram como a prevalência de um imperativo da felicidade, responsável por instigar o discurso que compreende a Filosofia em sua forma escolar como um (...) saber desinteressante e inútil. Na sequência, a partir de certas discussões foucaultianas, rascunharemos alguns apontamentos sobre o caráter tensionador e desconfortante dos exercícios filosóficos, exercícios extemporâneos sempre a favor de um tempo porvir, pouco coadunados com as demandas práticas da atualidade e, por esse motivo, definida como algo perigoso para os poderes estabelecidos. (shrink)

In this paper I explore a version of standard (expected utility) decision theory in which the probability parameter is interpreted as an objective chance believed by agents to obtain and values of this parameter are fixed by indicative conditionals linking possible actions with possible outcomes. After reviewing some recent developments centering on the common-cause counterexamples to the standard approach, I introduce and briefly discuss the key notions in my own approach. (This approach has essentially the same results as the causal (...) approach in common-cause cases.) I then discuss the Rule of Dominance and find, in the context of the present proposal, that it cannot serve as an independent source of action justification. Turning next to Newcomb''s Problem, I argue that the much discussed issue of back-tracking counterfactuals is something of a red herring for decision theory. Once the twin distractions of back-tracking counterfactuals and Dominance Reasoning are set aside the 1-box solution emerges as a natural consequence of the present proposal. It is of interest that this proposal agrees with the causal approach in the standard common-cause examples and the expected-utility approach in the Newcomb case: one can be smart and rich and keep on smoking. (shrink)

Esse artigo propõe pensar o modo como as anedotas vitais, conceito elaborado por Friedrich Nietzsche, foram apropriadas metodologicamente por Gilles Deleuze. Essa apropriação, acreditamos, coliga-se ao apelo deleuziano e deleuzo-guattariano por uma renovação da história da filosofia e pela construção de uma perspectiva criativa do ofício filosófico, com fortes impactos sobre o ensino dessa disciplina. Para tanto, iniciaremos recuperando o diálogo travado por Deleuze com algumas concepções canônicas sobre a história da filosofia, mormente as perspectivas de Ferdinand Aquié e Martial (...) Gueroult. Procuraremos sondar o modo como o autor de _Diferença e Repetição_ se inseriu em um debate metodológico sobre como realizar uma história da filosofia eminentemente filosófica. Desse modo, buscando compreender a perspectiva própria erigida por Deleuze, poderemos recuperar a importância das _anedotas vitais_ para sua compreensão do papel da história da filosofia. Para tanto, recuperarmos a leitura vitalista da filosofia espinosana proposta por Deleuze em _Espinosa: filosofia prátic_a. Por fim, apresentaremos algumas inquietações sobre a relevância dos usos das _anedotas vitais_ para a construção de um ensino de filosofia outro. (shrink)

Esse artigo busca apresentar o conceito de problematização, tal qual elaborado pelo filósofo francês Michel Foucault, bem como pensar seu potencial interesse para os pesquisadores do campo educacional. Valendo-nos das leituras empreendidas por James Marshall sobre tal noção, argumentamos que tal conceito possibilitaria fomentar uma espécie de revitalização das pesquisas desenvolvidas na área, mormente aquelas filiadas ao diapasão teórico foucaultiano. Não se trata apenas de empreender uma discussão conceitual, mas de retomar uma atitude investigativa foucaultiana passível de ser sintetizada no (...) dito: “tornar difíceis os gestos fáceis demais”. (shrink)

There are two main formulations of a key causal principle in the Cartesian a priori philosophical system: one, present in Meditation III, says that the cause of the representational content of an idea must be situated at the same or higher level in ontology than the level at which the object represented is situated, the other, present in the axioms section of the Second Replies, says that the cause must contain the same property as is represented by the idea. This (...) central chapter defends four main contentions. The same‐property formulation is basic in Descartes's system. The notion of causality in the basic causal principle does not represent a spatio temporally extended natural process but a form of intentional explanation. When point is combined with the interpretation of the rule of truth offered in Ch. 2, the rule of truth and the basic causal principle prove to be equivalent. Finally, in light of, there is one main pattern of inference in Cartesian epistemology taking the rule of truth/causal principle as its major premise and underlying all of Descartes arguments from my ideas to the existence of things outside my ideas, including the proof of my own existence, the proof of the existence of God in Meditations III and V and the proof of the existence of the external world in Meditation VI and the Principles of Philosophy II,1. (shrink)

Crer, experimentar, fabular: ensaio sobre a experiência Resumo: Partindo da concepção deleuziana e deleuzo-guattariana da crença nesse mundo, esse ensaio procurará pensar a temática da experiência dentro do campo educacional. Para tanto, procuraremos pensar o modo como os filósofos Gilles Deleuze e Félix Guattari concebem uma espécie de crença imanente, voltada para a experimentação vital das forças constitutivas do mundo, capaz de ultrapassar os condicionantes transcendentes da experiência. Para a devida compreensão de uma tal crença, devedora daquilo que Deleuze denomina (...) de empirismo transcendental, retomaremos o diálogo travado pelos autores de O que é a Filosofia? com a noção de fabulação preconizada por Henri Bergson. Buscaremos apresentar o modo como se dá a articulação entre os conceitos de fabulação e crença, importante na medida em que permitirá pensarmos uma experiência não condicionada por nenhuma instância transcendente, experiência a qual Deleuze e Deleuze-Guattari denominarão de experimentação. O conceito de experimentação, acreditamos, pode contribuir para as discussões recentes sobre experiência presentes no campo educacional, mormente aquelas empreendias por Jorge Larrosa Bondia e Julio Groppa Aquino. Palavras-chave: Crença imanente; Experiência; Fabulação; Gilles Deleuze e Félix Guattari; Henri Bergson. Believe, experience, fable: an essay about experience Abstract: This article starting from the Deleuzian and Deleuzo-Guattarian conception of belief in this world and will try to think the theme of experience in the educational field. Therefore, we trying to think the way in which the philosophers Gilles Deleuze and Félix Guattari conceive a kind of immanent belief, focused on the vital experimentation of the constitutive forces of the world and capable of overcoming the transcendent conditions of experience. For the proper understanding of such a belief, indebted to what Deleuze calls transcendental empiricism, we will resume the dialogue carried out by the authors of What is Philosophy? with the notion of fabulation advocated by Henri Bergson. We will present the way in which the concepts of fabulation and belief take place, which is important in that it will allow us to think about an experience that is not conditioned by any transcendent instance, an experience that Deleuze and Deleuze-Guattari will call experimentation. The concept of experimentation, we believe, can contribute to the recent discussions on experience present in the educational field, especially those undertaken by Jorge Larrosa Bondia and Julio Groppa Aquino. Keyword: Immanent believe; Experience; Fable; Gilles Deleuze and Félix Guattari ; Henri Bergson. Creer, experimentar, fábula: ensayo sobre experiência Resumen: A partir de la concepción Deleuzian y Deleuzo-Guattarian de creencia en este mundo, este ensayo tratará de pensar el tema de la experiencia dentro del campo educativo. Por lo tanto, trataremos de pensar en la forma que los filósofos Gilles Deleuze y Félix Guattari conciben una especie de creencia inmanente, centrada en la experimentación vital de las fuerzas constitutivas del mundo, capaz de superar las condiciones trascendentes de la experiencia. Para la comprensión adecuada de tal creencia, en deuda con lo que Deleuze llama empirismo trascendental, reanudaremos el diálogo llevado a cabo por los autores de ¿Qué es la filosofía? con la noción de fabulación defendida por Henri Bergson. Intentaremos presentar la forma en que tienen lugar los conceptos de fabulación y creencia, lo cual es importante ya que nos permitirá pensar en una experiencia que no está condicionada por ninguna instancia trascendente, una experiencia que Deleuze y Deleuze-Guattari llamarán experimentación. El concepto de experimentación, creemos, puede contribuir a las discusiones recientes sobre la experiencia presente en el campo educativo, especialmente las emprendidas por Jorge Larrosa Bondia y Julio Groppa Aquino. Palabras clave: Creencia imanente; Experiencia; Fábula; Gilles Deleuze y Félix Guattari; Henri Bergson. Data de registro: 29/04/2020 Data de aceite: 22/09/2021. (shrink)

Summary The aim of this paper is to compare Brechtian theory concerning empathy in theatre and recent studies showing the biological basis of empathy. First of all, a brief summary about the concept of empathy is provided, with particular attention to empathy in Brechtian theatre. Then, a paragraph is dedicated to explain how empathy and emotional involvement are linked to neurobiological mechanisms and body state. In the end, an analysis of the Verfremdungseffekte in the Threepenny Opera is traced to understand (...) how recent studies contradict Brechtian theory as far as empathy is concerned. (shrink)