The ArgumentVisible colleges, in contrast to the “invisible colleges” familiar to historians of science, are the collective places of science, the places where the “creation of phenomena” and theoretical speculation proceed side by side. To understand their spatial form, we must understand first how buildings can structure space to both conserve and generate social forms, depending on how they relate structure in space to randomness. Randomness is shown to play a crucial role in morphogenetic models of many kinds, especially in (...) spatial forms and in social networks. We argue here that it can also play a crucial role in the advance of science. (shrink)

The contributors to The Moral of the Story, all preeminent political theorists, are unified by their concern with the instructive power of great literature. This thought-provoking combination of essays explores the polyvalent moral and political impact of classic world literatures on public ethics through the study of some of its major figures-including Shakespeare, Dante, Cervantes, Jane Austen, Henry James, Joseph Conrad, Robert Penn Warren, and Dostoevsky. Positing the uniqueness of literature's ability to promote dialogue on salient moral and intellectual (...) virtues, editor Henry T. Edmonson III has culled together a wide-ranging exploration of such fundamental concerns as the abuse of authority, the nature of good leadership, the significance of "middle class virtues" and the needs of adolescents. This collection reinvigorates the study of classic literature as an endeavor that is not only personally intellectually satisfying, but also an inimitable and unique way to enrich public discourse. (shrink)

Number concepts must support arithmetic inference. Using this principle, it can be argued that the integer concept of exactly ONE is a necessary part of the psychological foundations of number, as is the notion of the exact equality - that is, perfect substitutability. The inability to support reasoning involving exact equality is a shortcoming in current theories about the development of numerical reasoning. A simple innate basis for the natural number concepts can be proposed that embodies the arithmetic principle, supports (...) exact equality and also enables computational compatibility with real- or rational-valued mental magnitudes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 35-37 [Access article in PDF] Seeking Emancipation through Engagement:One Nichiren Buddhist's Approach to Practice Bill Aiken SGI-USA I was born and raised Roman Catholic, which meant attending Catholic schools, first in the local parish schools and later at a private academy in suburban Philadelphia. As a child I was serious about my religion. I served as an altar boy and had serious thoughts about becoming (...) a priest.That was until the mid-1960s, when my hormones took over, my voice changed, and I converted to hedonism. I hadn't so much turned against my Catholic upbringing as I was temporarily distracted from it.It was when I went away to college that the religious questions began to resurface. Friends and classmates wanted to know what I believed in, and I really didn't know. The old form of Catholicism, with its stern, patriarchal vision of God, didn't seem to fit anymore. But the mystery remained as a palpable presence, and it seemed to require an answer. Was I an atheist? That seemed so negative. How about an agnostic? Possibly. They seemed to believe in something, even if they didn't know what it was. That seemed about right for the moment.My first encounter with Buddhism came during that freshman year at Penn State University in the fall of 1968. While attending a rather psychedelic party, a friend asked me if I knew anything about Buddhism. Replying that I didn't, I asked what Buddhism had to say for itself. My friend said that it spoke of the oneness and interrelatedness of everything. All I can say is that at that particular moment this made sense to me and started me on what would at first be a pretty casual exploration of Buddhism.But it would be in the bedridden summer of 1970, while recovering from a lifestyle-inflicted illness, that I started to reflect on my life in earnest and began to read as though Buddhism had something to say directly to me. More books by Alan Watts led to D. T. Suzuki, which in turn led to collections of sutras and finally to Phillip Kapleau and the Three Pillars of Zen. This would be my guide for the next year as I struggled to bring focus to my mind and my life.Being the poor and struggling student that I was, I could not afford the cost of a [End Page 35] retreat or sesshin training. So I struggled as well as I could with a combination of self-instruction and whatever I could learn from those who did attend these sessions.I should say at this point that while I may have had a highly developed religious sense, I never wanted to become a religious virtuoso or a renunciate. From the depths of my adolescent angst and confusion, I longed for an awakening, but I had conditions. And chief among them was that I would not be pried apart from my life as I knew it. The quietude of the monastery and hours of prayer or meditation held absolutely no appeal for me. If I were going to attain enlightenment it would have to be in Times Square (before Disney took it over). And so, through my daily stumbling efforts at zazen, I began struggling to bring about this awakening.So this is where I was spiritually when on a late summer day in 1971, a pleasant though somewhat scattered young woman approached me on the streets of downtown Philadelphia, invited me to a Buddhist meeting, and introduced me to the chanting of Nam-myoho-renge-kyo. The first meeting I attended was a rather large one on the campus of Columbia University in NewYork. Everyone seemed pleasant enough, but the meeting seemed more like a pep rally than a serious discussion about the profound teachings of the Buddha. When the main speaker finally took the stage, I found it nearly impossible to understand his broken English. So I'm afraid that I don't remember a single word he... (shrink)

This book aims to distil the essentials of liberal constitutionalism from the jurisprudence and practice of contemporary liberal-democratic states. It argues that the model liberal-democratic constitution is best understood as a unity of three constitutional frameworks: libertarian, egalitarian, and communitarian. When viewed in this light, the liberal constitution embodies a surprising synthesis. It reconciles a commitment to individual liberty and freedom of conscience with the perfectionist idea that the state ought to cultivate a type of personality whose fundamental ends are (...) the goods essential to dignity. (shrink)

It is difficult to say in a few words how much I owe to Hans Albert. It all began with invitations to the wonderful Alpbach European Forum, where for many years Hans helped to organize [i. e. organized] the regular Philosophy Seminar. He first invited me there in 1975, and again in 1980, 1987, 1993, 1995, 1998 and 2001. Hans really was the ‘Spirit of Alpbach’, as somebody once described him to me, and these were all memorable occasions in many (...) ways. I also met Gretl there, and their sons. I played tennis with Gretl and had wonderful walks and talks with all of them. (shrink)

This paper describes a new course in Medical Technology and Critical Decisions, part of the Technology Studies Program at Wellesley College, established with the support of the Alfred P. Sloan Foundation's New Liberal Arts Program. The course uses the dramatic new options in medicine presented by technology to individuals and society as a vehicle for promoting general technological literacy in liberal arts students. The course motivates the study of the scientific principles on which the technology rests and the mathematical principles (...) of a methodology for making rational choices. A case in point is the decision of a pregnant woman whether or not to undergo amniocentesis, a procedure used to determine the genetic make-up of a fetus from cells in the amniotic fluid. The course introduces students to the underlying notions of genetics; the physical principles behind the ultrasound imaging technique used to position the needle that draws the fluid; the probability and statistics needed to understand the risks to the woman and fetus both of having and of not having the procedure; and the methodology of decision analysis, increasingly used by genetic counselors to help prospective parents incorporate their personal values into the decision-making process. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

Covering the "long" Enlightenment, from the rise of Descartes' disciples in 1670 to the restoration of the Bourbon monarchy in 1815, the Encyclopedia of the Enlightenment contains articles ranging from discussions of mercantilism and democracy to the dissemination of ideas in salons and coffeehouses. It is also an e-reference text from Oxford's Digital Reference Shelf.

Does the philosophy of history have a future? In 1949 Karl Jaspers, echoing Hegel, still identified history as the “great question” in philosophy; but in 1966 Karl Löwith observed that the philosophy of history had been reduced to little more than “epochal consciousness.” During the 1970s analytical philosophers endorsed the critical-speculative distinction of C. D. Broad and the question of universal history was effectively bracketed. Post-structuralists and feminists during the 70s and 80s endorsed the observation of Michel Foucault that history (...) is “the Western myth” and, more recently in 1989, Francis Fukuyama proclaimed the “end of history.” In this essay I explore some of the developments contributing to the marginalization of the philosophy of history during the latter half of the twentieth century. Following this, I offer some comments regarding the persistence of the question of universal history. (shrink)

Many commentators still take the Delphic speech in the Charmides as Socrates’ opinion of sôphrosunê. This is a misreading. The speaker is Critias, a future tyrant, and close analysis reveals his conception of self-knowledge, as a godlike and self-certain wisdom, to be perverted by his tyrannical views. His conception of sôphrosunê must be distinguished from Socrates’, and while the former conception is refuted in the dialogue, the latter is not.

It is consistent that there is a compact space of character less than the splitting number in which there are no converging sequences. Such a space is an Efimov space.