Information can be considered as the most fundamental, philosophical, physical and mathematical concept originating from the totality by means of physical and mathematical transcendentalism (the counterpart of philosophical transcendentalism). Classical and quantum information, particularly by their units, bit and qubit, correspond and unify the finite and infinite. As classical information is relevant to finite series and sets, as quantum information, to infinite ones. A fundamental joint relativity of the finite and infinite, of the external and internal is to be investigated. (...) The corresponding invariance is able to define physical action and its quantity only on the basis of information and especially: on the relativity of classical and quantum information. The concept of transcendental time, an epoché in relation to the direction of time arrow can be defined. Its correlate is that information invariant to the finite and infinite, therefore unifying both classical and quantum information. (shrink)

We introduce nebit, a classical bit with a signed probability distribution. We study its properties and basic transformations that can be applied to it. Then, we introduce a simple dynamical model – a classical random walk supplemented with nebits. We show that such a model exhibits some counterintuitive non-classical properties and that it can achieve or even exceed the speedup of Grover’s quantum search algorithm. The proposed classical dynamics never reveals negativity of nebits and thus we do not need any (...) operational interpretation of negative probabilities. We argue that nebits can be useful as a measure of non-classicality as well as a tool to find new quantum algorithms. (shrink)

The paper investigates the understanding of quantum indistinguishability after quantum information in comparison with the “classical” quantum mechanics based on the separable complex Hilbert space. The two oppositions, correspondingly “distinguishability / indistinguishability” and “classical / quantum”, available implicitly in the concept of quantum indistinguishability can be interpreted as two “missing” bits of classical information, which are to be added after teleportation of quantum information to be restored the initial state unambiguously. That new understanding of quantum indistinguishability is linked to (...) the distinction of classical (Maxwell-Boltzmann) versus quantum (either Fermi-Dirac or Bose-Einstein) statistics. The latter can be generalized to classes of wave functions (“empty” qubits) and represented exhaustively in Hilbert arithmetic therefore connectible to the foundations of mathematics, more precisely, to the interrelations of propositional logic and set theory sharing the structure of Boolean algebra and two anti-isometric copies of Peano arithmetic. (shrink)

Quantum bit commitment is insecure in the standard non-relativistic quantum cryptographic framework, essentially because Alice can exploit quantum steering to defer making her commitment. Two assumptions in this framework are that: Alice knows the ensembles of evidence E corresponding to either commitment; and system E is quantum rather than classical. Here, we show how relaxing assumption or can render her malicious steering operation indeterminable or inexistent, respectively. Finally, we present a secure protocol that relaxes both assumptions in a quantum teleportation (...) setting. Without appeal to an ontological framework, we argue that the protocol’s security entails the reality of the quantum state, provided retrocausality is excluded. (shrink)

On top of the puzzles mentioned by Colman comes the puzzle of why rationality has bewitched classical game theory for so long. Not the smallest merit of evolutionary game theory is that it views rationality as a limiting case, at best. But some problems only become more pressing.

To write a history “from antiquity to the present” of classical art or literature (or, worst of all, classicism) is the ultimate nightmare aspiration for a scholar whose colleagues are attentive methodologists. The product, when there is one (which I add because the aspiration can yield paralysis), is always in part an apologetic treatise on historical method. Professor Vout—of Christ's College, Cambridge—apologizes with the first word of her subtitle, A, which stresses that many differing histories may be as valid as (...) her own. The next two words, Life History, imply that her study is unauthorized, conjectural, a bit personal or informal, and reliant to an extent on unconfirmable stories. Her book, she tells readers, is of necessity an arrangement of “fragments” and “a mapping not of facts, but of ways in which Greek and Roman artifacts experience history.” She sets down, moreover, as a rule that “classical” is not “a self-standing category: it is always relational” (which historians of the novel have been telling us for many decades about “realism”).We might expect the result of Vout's axioms to be evenhanded diffidence when treating definitions of the classical, and indeed she entertains even the idea of Jeff Koons—maker of Balloon Venus (Orange) and Gazing Ball (Barberini Faun)—as a classical sculptor. There is, however, one approach that she dismisses out of hand: the obsession of classical humanism with authenticity and its renascence. She objects especially to research into the original conditions of objects and to the application of increasingly intrusive methods of restoring them. As she writes, “ ‘Real knowledge’ comes not from antiquities that have been ripped from their original context, cleaned and reconstituted for display in galleries and glass cabinets. ‘Real knowledge’ comes from antiquities that carry their dirt with them.”What Vout, as a critic of humanism, means by dirt is patina—the residue, interesting and sometimes beautiful in itself, of the use and misuse of objects. Dirt is a word that would occur to a humanist art historian when examining the patina of a Greek or Roman object. Vout's use of the word is a parodic expression of reverse snobbery. When studying changes, whether mistakes or enhancements, in a Greek or Roman document, a humanist literary historian would speak of corruption and edit the corrupt text by means of processes that humanist editors invented and perfected. Despite the humanists’ devotion to the recovery of classical learning, however, once a Renaissance edition of a manuscript was in print, the original, however rare, was often destroyed or lost. In effect, the work was reborn, better than new. Rebirth is not the same as preservation: though both are perhaps conservative (or better, in Ulysses's words, “rere regardant”), a renascence or a resurrection is cataclysmic.The humanist approach to the past can appear unlovable and is certainly arrogant, but it can also inspire awe and gratitude. The work of Michelangelo depended on it, and so (more to the point) did Martin Luther's. Vout's attitude toward dirt (patina, corruption, misprision, insertions, recontextualizations, bowdlerizations, misappropriations, translocations) resembles that of Catholic theologians to the depositum fidei. Restoring the original conditions of the Christian church involved methods of research learned from Renaissance humanists and the removal, often destructive, of the “deposit” or residue or patina that adhered to, distorted, discolored, and obscured the conditions of the “primitive church.” A Roman Catholic may well dislike the processes that Luther set in motion, but imagine a scholarly history of Christianity that mentioned Protestantism only to regret its existence.Still, Vout's reasoning, it seems to me, is more sophisticated in its defense of dirt and in its criticism of restoration than any offered against the Protestants’ reasoning during the Counter-Reformation. Consider, for instance, this inspiring passage: “When the curators at the Munich Glyptothek removed Thorwaldsen's restorations from the Aegina pediments, they did not so much take them back to a pristine state as out of the feedback loop, rendering them damaged goods. It was not a restriction of avenues or a change of direction that was being enacted here, but a refusal to speak the language, or rather an insistence that the only language worth speaking was an academic [humanist, restorationist] one.... In 2011, the Glyptothek marked the two hundredth year of the pediments’ discovery by putting new versions of Thorvaldsen's restored figures on display. They had relearned the lingo. For art to be ‘classical,’ it has to know its place in the discourse.” May lingo and feedback loop have successful careers in the lexicon of classical scholarship. “Far from producing a nostalgic narrative,” as Vout informs us, “the lessons learned from looking back ensure that we keep traveling.”. (shrink)

This paper returns to some themes found in David Mitrany's classical ‘functionalist’ approach to international politics, in order to reconstruct practical principles that might be applied to contemporary politics as well as debates in International Relations and international political theory. It attempts to do this through two moves — ‘restoration’ and ‘contemporary reconstruction’. In restoring some of the insights Mitrany provides us that have been somewhat obscured over time, the paper hopes to demonstrate the ‘function’ behind functionalism — that its (...) core assumptions as an approach (if not ‘theory’) to international politics can prove to be just as instructive today as they were during the several decades of their initial development by Mitrany. Reconstruction, however, is necessitated by the observation that some of Mitrany's aspirations for functional theory — namely that it would produce ‘bonds’ that not only transcend national communities, but provide for the unraveling of the nation-state system as we know it — were a bit utopian. Thus, the paper proposes several avenues to reconstruct classical functionalism for contemporary politics. The paper then discusses three small empirical illustrations where micro-political insights can be extracted and briefly analysed: peace camps, the Regional Cooperation Council of the former Yugoslavia, and a more detailed analysis of the so-called ‘surge’ strategy in the ongoing US-Iraq conflict. It concludes with a two-pronged discussion on how micro-politics might speak to current debates in international political theory, and some mechanisms for securing functional spaces. (shrink)

While quantum theory cannot be described by a local hidden variable model, it is nevertheless possible to construct such models that exhibit features commonly associated with quantum mechanics. These models are also used to explore the question of \-ontic versus \-epistemic theories for quantum mechanics. Spekkens’ toy theory is one such model. It arises from classical probabilistic mechanics via a limit on the knowledge an observer may have about the state of a system. The toy theory for the simplest possible (...) underlying system closely resembles stabilizer quantum mechanics, a fragment of quantum theory which is efficiently classically simulable but also non-local. Further analysis of the similarities and differences between those two theories can thus yield new insights into what distinguishes quantum theory from classical theories, and \-ontic from \-epistemic theories. In this paper, we develop a graphical language for Spekkens’ toy theory. Graphical languages offer intuitive and rigorous formalisms for the analysis of quantum mechanics and similar theories. To compare quantum mechanics and a toy model, it is useful to have similar formalisms for both. We show that our language fully describes Spekkens’ toy theory and in particular, that it is complete: meaning any equality that can be derived using other formalisms can also be derived entirely graphically. Our language is inspired by a similar graphical language for quantum mechanics called the ZX-calculus. Thus Spekkens’ toy bit theory and stabilizer quantum mechanics can be analysed and compared using analogous graphical formalisms. (shrink)

In his review of my book, Classical Confucian Political Thought, David Elstein argues that my interpretation of Classical Confucian political thought draws too sharp a distinction between Confucians’ ethical standards and their political standards, thus veering perhaps a bit too far from the “conventional wisdom” that views Confucian politics as an extension of Confucian ethics. As I write in the book, “To the extent that the political standard is a normative standard, it is difficult to insist that it has nothing (...) to do with morality”. My aim in the book is thus not to posit a complete break between ethics and politics. Rather, my aim is to show where the two intersect and... (shrink)

It is usual to identify initial conditions of classical dynamical systems with mathematical real numbers. However, almost all real numbers contain an infinite amount of information. I argue that a finite volume of space can’t contain more than a finite amount of information, hence that the mathematical real numbers are not physically relevant. Moreover, a better terminology for the so-called real numbers is “random numbers”, as their series of bits are truly random. I propose an alternative classical mechanics, which (...) is empirically equivalent to classical mechanics, but uses only finite-information numbers. This alternative classical mechanics is non-deterministic, despite the use of deterministic equations, in a way similar to quantum theory. Interestingly, both alternative classical mechanics and quantum theories can be supplemented by additional variables in such a way that the supplemented theory is deterministic. Most physicists straightforwardly supplement classical theory with real numbers to which they attribute physical existence, while most physicists reject Bohmian mechanics as supplemented quantum theory, arguing that Bohmian positions have no physical reality. (shrink)

Dynamical activities within living eukaryotic cells are organized by microtubules, main structural components of the cytoskeleton and cylindrical polymers of the protein tubulin. Evidence and theoretical models suggest that states of tubulin may play the role of “bits” in classical microtubule computational automata. The advent of quantum information devices, key roles played by quantum processes in protein dynamics, and coherent ordering in the cell cytoplasm further suggest that microtubules may function as quantum computational devices, and that mesoscopic and macroscopic (...) quantum states are characteristic of living systems. In this paper new results from molecular dynamics simulation based on recently obtained atomic structure of tubulin are presented which provide support for classical and quantum modes of microtubule information processing. (shrink)

: Throughout its history, pragmatism has served as the bearer of an unsystematic welter of philosophic insights from which varying movements or individuals could abstract bits and pieces as these were seen to serve the cause of their respective, often conflicting, philosophic claims. One common result to be found in these conflicting uses of pragmatic doctrines is a loss of the distinctively pragmatic philosophic vision which defies assimilation and which dissolves in the dismembering of its parts. What such endeavors (...) further have in common is a failure to adequately recognize the nature of the scientific method to which pragmatic thought is linked and which provides the key to the unity of its systematic vision. It is this key which the present paper proposes to use to explore, in broad outlines, the depth and breadth of the pragmatic vision as offering a unique well structured and systematic conceptual paradigm.Key-words: pragmatism, philosophy, scientific method, system, paradigm.Resumo: Por toda a sua história, o pragmatismo serviu como o suporte de um turbilhão assistemático de insights filosóficos, do qual movimentos ou indivíduos variados poderiam abstrair pedaços ou partes quando se considerava que eles serviam à causa de seus respectivos, em geral conflitantes, argumentos filosóficos. Um resultado comum encontrado nesses usos conflitantes das doutrinas pragmáticas é uma perda da visão filosófica distintivamente pragmática que desafia a assimilação e que se dissolve no desmembramento de suas partes. O que tais esforços possuem ainda em comum é um fracasso para reconhecer adequadamente a natureza do método científico ao qual o pensamento pragmático está ligado e que fornece a chave para a unidade de sua visão sistemática. É essa chave que o presente artigo se propõe a utilizar para explorar, em linhas gerais, a profundidade e a dimensão da visão pragmática enquanto esta oferece um paradigma único, bem estruturado e sistemático.Palavras-chave: pragmatismo, filosofia, método científico, sistema, paradigma. (shrink)

This article bridges a gap in the study of Aristophanic humour by better demonstrating how individual jokes (in this case, the para prosdokian ‘contrary to expectation’ joke) contribute to the wider comic scenes in which they are embedded. After analysing ancient and modern explanations and examples of para prosdokian jokes, this paper introduces the concept of ‘comic bit’, a discrete unit of comedy that builds humour around a central premise, and establishes how para prosdokian jokes contribute to comic bits (...) in a way that recent theories of para prosdokian cannot account for. (shrink)

The paper considers the symmetries of a bit of information corresponding to one, two or three qubits of quantum information and identifiable as the three basic symmetries of the Standard model, U(1), SU(2), and SU(3) accordingly. They refer to “empty qubits” (or the free variable of quantum information), i.e. those in which no point is chosen (recorded). The choice of a certain point violates those symmetries. It can be represented furthermore as the choice of a privileged reference frame (e.g. that (...) of the Big Bang), which can be described exhaustively by means of 16 numbers (4 for position, 4 for velocity, and 8 for acceleration) independently of time, but in space-time continuum, and still one, 17th number is necessary for the mass of rest of the observer in it. The same 17 numbers describing exhaustively a privileged reference frame thus granted to be “zero”, respectively a certain violation of all the three symmetries of the Standard model or the “record” in a qubit in general, can be represented as 17 elementary wave functions (or classes of wave functions) after the bijection of natural and transfinite natural (ordinal) numbers in Hilbert arithmetic and further identified as those corresponding to the 17 elementary of particles of the Standard model. Two generalizations of the relevant concepts of general relativity are introduced: (1) “discrete reference frame” to the class of all arbitrarily accelerated reference frame constituting a smooth manifold; (2) a still more general principle of relativity to the general principle of relativity, and meaning the conservation of quantum information as to all discrete reference frames as to the smooth manifold of all reference frames of general relativity. Then, the bijective transition from an accelerated reference frame to the 17 elementary wave functions of the Standard model can be interpreted by the still more general principle of relativity as the equivalent redescription of a privileged reference frame: smooth into a discrete one. The conservation of quantum information related to the generalization of the concept of reference frame can be interpreted as restoring the concept of the ether, an absolutely immovable medium and reference frame in Newtonian mechanics, to which the relative motion can be interpreted as an absolute one, or logically: the relations, as properties. The new ether is to consist of qubits (or quantum information). One can track the conceptual pathway of the “ether” from Newtonian mechanics via special relativity, via general relativity, via quantum mechanics to the theory of quantum information (or “quantum mechanics and information”). The identification of entanglement and gravity can be considered also as a ‘byproduct” implied by the transition from the smooth “ether of special and general relativity’ to the “flat” ether of quantum mechanics and information. The qubit ether is out of the “temporal screen” in general and is depicted on it as both matter and energy, both dark and visible. (shrink)

Why don't we see large macroscopic objects in entangled states? Even if the particles composing the object were all entangled and insulated from the environment, we shall still find it almost always impossible to observe the superposition. The reason is that as the number of particles n grows, we need an ever more careful preparation, and an ever more carefully designed experiment, in order to recognize the entangled character of the state of the object. An observable W that distinguishes all (...) the unentangled states from some entangled states is called a witness. We consider witnesses on n quantum bits (qbits), and use the following normalization: A witness W satisfies |tr(Wr)|<= 1 for all separable states r, while ||W|| >1, with the norm being the maximum among the absolute values of the eigenvalues of W. Although there are n-qbit witnesses whose norm is exponential in n, we conjecture that for a large majority of such witnesses ||W||<=O[(nlogn)^1/2]. We prove this conjecture for the family of extremal witnesses introduced by Werner and Wolf (Phys. Rev. A 64, 032112 (2001)). Assuming the conjecture is valid we argue that multiparticle entanglement can be detected only if a system has been carefully prepared in a very special state. Otherwise, multiparticle entanglement lies below the threshold of detection, even if it exists, and even if decoherence has been ``turned off''. (shrink)

The D-CTC condition, introduced by David Deutsch as a condition to be fulfilled by analogues for processes of quantum systems in the presence of closed timelike curves, is investigated for classical statistical bi-partite systems. It is shown that the D-CTC condition can generically be fulfilled in classical statistical systems, under very general, model-independent conditions. The central property used is the convexity and completeness of the state space that allows it to generalize Deutsch’s original proof for q-bit systems to more general (...) classes of statistically described systems. The results demonstrate that the D-CTC condition, or the conditions under which it can be fulfilled, is not characteristic of, or dependent on, the quantum nature of a bi-partite system. (shrink)

There are many moral values that the Arab writers have written about either in prose or poetry. This emphasis on morality in classical Arabic literature has also been the subject of many academic studies. The abundance of the literary material in this field has attracted the attention of researchers. One of these is the emphasis on "naturalness" which we have seen in classical Arabic literature. In the Arab society which social ties are very strong the moral values have been summarized (...) with the concept of al-murūah/chivalry over time. In these sources that is including poems, parables and anecdotes about morality allthings on the moral values are brought together. Hereunder the main thing in the moral maturity is the naturality. Criticism of ostensible behaviors has taken place in an important part of these works. For example, ancient perception of morality is a predestination that comes from creation has found its response in Arabic poetry. Many Arab poets have stated that one's innate character will beat and the reason will be defeated. On the other hand, some poets tried to establish a balance between character and wisdom. Accordingly, it has been stated that people are innately inclined to falses but they also have the potential to restrain their innate evil tendencies with the ability of mind given to them. These poets liked to explain this balance through the simile stating he ambitious horse that wants to run at full speed is restrained with a bit. According to this simile the man is like a person on the back of a raging horse with the evil inclinations cultivated in his nature. The soul he carries wants to take him wherever it wishes. However, he has a mind that is like a bridle in return for the soul inside him. On the other hand, when we look at the encyclopedic sources of Arabic proverbs we see that there are proverbs comparing many moral attributes with animals. In Turkish proverbs, cunning is identified with the fox and industriousness with the ant, and in Arabic proverbs a very rich human character-animal pairings stand out. These proverbs are based on the idea that people's character is the product of nature. Because each animal species has appreciated characteristics and these features occur without learning and education. In addition, the issue of the naturalness of morality was also used for the purpose of praise and satire in the classical Arabic poets. The poet makes his reproach or anger towards someone through his character. When describing his lover he states that the beauties that adorn him come from creation. Therefore, it can be said that the emphasises of character/nature/temperament in the poems in which these and similar emotions are aroused, are the motifs that serve the purpose of the poet. Finally Arab writers have offered many recommendations in literary form on issues such as brotherhood, solidarity and cooperation for the healthy continuity of social relations in the Muslim society, and they have included anecdotes and poems within the framework of the subject. The study is mainly based on the descriptive method, however, the way the authors handled the subject is analysed when it is deemed to be appropriate. Considering that there is no specific study in Turkish and Arabic literature within the framework of the present study, it is aimed to investigate the literary material in the subject in question. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Understanding Confucian Philosophy: Classical and Sung-MingChenyang LiUnderstanding Confucian Philosophy: Classical and Sung-Ming. By Shu-hsien Liu. Westport and London: Praeger, 1998. Pp. xii + 273.Understanding Confucian Philosophy: Classical and Sung-Ming, by Shu-hsien Liu, a leading contemporary Neo-Confucian scholar, aims to present the Confucian tradition [End Page 312] from a contemporary Neo-Confucian perspective and purports to provide some background clues to what has led to the Third Epoch of Confucianism, (...) that is, the emergence of the contemporary Neo-Confucian movement.As its title suggests, the book is divided into two parts. Part 1 deals with Classical Confucianism, and part 2 is a study of Sung-Ming Confucian philosophy. The Classical period begins with an informative chapter on the historical background to the emergence of Confucian philosophy, which is particularly useful if the book is to be used as a university-level text. The historical chapter is followed by chapters on Confucius (Kong Zi), Mencius (Meng Zi), The Great Learning and The Doctrine of the Mean, and the Book of Changes. Part 1 ends with a chapter on the transformation of Confucianism since the Han dynasty. Compared with similar books on Confucian philosophy, the chapter on Confucius appears sketchy, but its treatment of Confucius' central concept, jen (ren), is first-rate, clear, and insightful. The chapter on Mencius is more elaborate. It surveys virtually every key concept of Mencius' philosophy. As with similar works by Chinese scholars, the sheer number of quotations in this chapter may appear excessive to Western readers. Hsün Tzu (Xun Zi), another key classical Confucian philosopher, is only mentioned in passing, although this is not surprising in a book written from a Neo-Confucian perspective; in the Neo Confucian tradition Hsün Tzu is considered unorthodox.The chapter on the Book of Changes is a breath of fresh air in that it has adopted a developmental point of view. The author argues that there are four layers of meaning in the work: it offers a system of mystical symbolism, a system of rational/natural symbolism, a system of cosmological symbolism, and finally a system of ethics/metaphysical symbolism. Professor Liu says of the four systems, "each one succeed[s] the other and yet interpenetrate[s] the other" (p. 74). Overall, Classical Confucianism is analyzed according to three inseparable aspects—spiritual, political, and popular—which define the heritage as well as the burden of this tradition.At first I was a bit surprised to see that the chapter on "The Characteristics and Contemporary Significance of Sung-Ming Neo-Confucian Philosophy" is at the beginning, not at the end, of part 2 on Sung-Ming Neo-Confucian philosophy. But it turns out that this chapter contains a brief survey of some major Neo-Confucian philosophers of the period and serves well as an introduction to part 2. Recognizing Chu Hsi's (Zhu Xi) contribution to the movement of the Second Epoch, Liu spends two chapters out of six on this great Sung philosopher. The chapter on Wang Yang-ming aims "to destroy the myth once and for all that there is no discrepancy between Lu [Hsiang-shan] and Wang and that there is not a close relationship between Wang and Chu [Hsi]" (p. 198). This goes against a widespread (mis)conception that Wang and Chu represent two distinct lines of Neo-Confucianism.Part 2 ends with a chapter on Huang Tsung-hsi (Huang Zongxi), arguably the most liberal of all Sung-Ming Neo-Confucian philosophers. Liu regards Huang as the culmination of an unfinished Sung-Ming Neo-Confucian philosophical tradition, from which the contemporary Neo-Confucian movement should take up the cause. Altogether, part 2 is not as systematic in introducing Sung-Ming Neo-Confucian philosophy as is part 1 on Classical Confucianism. [End Page 313]As a synthesis of various articles previously published by the author over a twenty-five-year period, the book bears both the strengths and the weaknesses of works of this kind: there are in-depth studies focused on specific topics of particular interest in the Neo-Confucian movement, but there is occasionally a lack of smooth transition from one chapter to another or... (shrink)

The paper introduces mathematical encoding for subjective experience and meaning in natural cognition. The code is based on a quantum-theoretic qubit structure supplementing classical bit with circular dimension, functioning as a process-causal template for representation of contexts relative to the basis decision. The qubit state space is demarcated in categories of emotional experience of animals and humans. Features of the resulting spherical map align with major theoreties in cognitive and emotion science, modeling of natural language, and semiotics, suggesting several generalizations (...) and improvements. The developed model bridges psychological, quantum-theoretic, and semiotic perspectives, allowing for an integrative account of subjectivity, agency, and meaning in living Nature.Graphical abstract. (shrink)

Can quantum communication be more efficient than its classical counterpart? Holevo's theorem rules out the possibility of communicating more than n bits of classical information by the transmission of n quantum bits—unless the two parties are entangled, in which case twice as many classical bits can be communicated but no more. In apparent contradiction, there are distributed computational tasks for which quantum communication cannot be simulated efficiently by classical means. In some cases, the effect of transmitting quantum (...) bits cannot be achieved classically short of transmitting an exponentially larger number of bits. In a similar vein, can entanglement be used to save on classical communication? It is well known that entanglement on its own is useless for the transmission of information. Yet, there are distributed tasks that cannot be accomplished at all in a classical world when communication is not allowed, but that become possible if the non-communicating parties share prior entanglement. This leads to the question of how expensive it is, in terms of classical communication, to provide an exact simulation of the spooky power of entanglement. (shrink)

The brain is composed of electrically excitable neuronal networks regulated by the activity of voltage-gated ion channels. Further portraying the molecular composition of the brain, however, will not reveal anything remotely reminiscent of a feeling, a sensation or a conscious experience. In classical physics, addressing the mind–brain problem is a formidable task because no physical mechanism is able to explain how the brain generates the unobservable, inner psychological world of conscious experiences and how in turn those conscious experiences steer the (...) underlying brain processes toward desired behavior. Yet, this setback does not establish that consciousness is non-physical. Modern quantum physics affirms the interplay between two types of physical entities in Hilbert space: unobservable quantum states, which are vectors describing what exists in the physical world, and quantum observables, which are operators describing what can be observed in quantum measurements. Quantum no-go theorems further provide a framework for studying quantum brain dynamics, which has to be governed by a physically admissible Hamiltonian. Comprising consciousness of unobservable quantum information integrated in quantum brain states explains the origin of the inner privacy of conscious experiences and revisits the dynamic timescale of conscious processes to picosecond conformational transitions of neural biomolecules. The observable brain is then an objective construction created from classical bits of information, which are bound by Holevo’s theorem, and obtained through the measurement of quantum brain observables. Thus, quantum information theory clarifies the distinction between the unobservable mind and the observable brain, and supports a solid physical foundation for consciousness research. (shrink)

Recent work has shown how to use the laws of quantum mechanics to keep classical and quantum bits secret in a number of different circumstances. Among the examples are private quantum channels, quantum secret sharing and quantum data hiding. In this paper we show that a method for keeping two classical bits hidden in any such scenario can be used to construct a method for keeping one quantum bit hidden, and vice–versa. In the realm of quantum data hiding, (...) this allows us to construct bipartite and multipartite hiding schemes for qubits from the previously known constructions for hiding bits. (shrink)

The human mind is constituted by inner, subjective, private, first-person conscious experiences that cannot be measured with physical devices or observed from an external, objective, public, third-person perspective. The qualitative, phenomenal nature of conscious experiences also cannot be communicated to others in the form of a message composed of classical bits of information. Because in a classical world everything physical is observable and communicable, it is a daunting task to explain how an empirically unobservable, incommunicable consciousness could have any (...) physical substrates such as neurons composed of biochemical molecules, water, and electrolytes. The challenges encountered by classical physics are exemplified by a number of thought experiments including the inverted qualia argument, the private language argument, the beetle in the box argument and the knowledge argument. These thought experiments, however, do not imply that our consciousness is nonphysical and our introspective conscious testimonies are untrustworthy. The principles of classical physics have been superseded by modern quantum physics, which contains two fundamentally different kinds of physical objects: unobservable quantum state vectors, which define what physically exists, and quantum operators (observables), which define what can physically be observed. Identifying consciousness with the unobservable quantum information contained by quantum physical brain states allows for application of quantum information theorems to resolve possible paradoxes created by the inner privacy of conscious experiences, and explains how the observable brain is constructed by accessible bits of classical information that are bound by Holevo's theorem and extracted from the physically existing quantum brain upon measurement with physical devices. (shrink)

Classical systems of mereology identify a maximuml set of jointly exhaustive and pairwise disjoint (RCC5) relations. The amount of information that is carried by each member of this set of (crisp) relations is determined by the number of bits of information that are required to distinguish all the members of the set. It is postulated in this paper, that vague mereological relations are limited in the amount of information they can carry. That is, if a crisp mereological relation can (...) carry N bits of information, then a vague mereological relation can carry only 1 ⩽ n < N bits. The aim of this paper is it to explore these ideas in the context of various systems of vague mereological relations. The resulting formalism is non-classical in the sense of quantum information theory. (shrink)

The quantum information introduced by quantum mechanics is equivalent to that generalization of the classical information from finite to infinite series or collections. The quantity of information is the quantity of choices measured in the units of elementary choice. The qubit can be interpreted as that generalization of bit, which is a choice among a continuum of alternatives. The axiom of choice is necessary for quantum information. The coherent state is transformed into a well-ordered series of results in time after (...) measurement. The quantity of quantum information is the ordinal corresponding to the infinity series in question. Number and being (by the meditation of time), the natural and artificial turn out to be not more than different hypostases of a single common essence. This implies some kind of neo-Pythagorean ontology making related mathematics, physics, and technics immediately, by an explicit mathematical structure. (shrink)

Quantum information is discussed as the universal substance of the world. It is interpreted as that generalization of classical information, which includes both finite and transfinite ordinal numbers. On the other hand, any wave function and thus any state of any quantum system is just one value of quantum information. Information and its generalization as quantum information are considered as quantities of elementary choices. Their units are correspondingly a bit and a qubit. The course of time is what generates choices (...) by itself, thus quantum information and any item in the world in final analysis. The course of time generates necessarily choices so: The future is absolutely unorderable in principle while the past is always well-ordered and thus unchangeable. The present as the mediation between them needs the well-ordered theorem equivalent to the axiom of choice. The latter guarantees the choice even among the elements of an infinite set, which is the case of quantum information. The concrete and abstract objects share information as their common base, which is quantum as to the formers and classical as to the latter. The general quantities of matter in physics, mass and energy can be considered as particular cases of quantum information. The link between choice and abstraction in set theory allows of “Hume’s principle” to be interpreted in terms of quantum mechanics as equivalence of “many” and “much” underlying quantum information. Quantum information as the universal substance of the world calls for the unity of physics and mathematics rather than that of the concrete and abstract objects and thus for a form of quantum neo-Pythagoreanism in final analysis. (shrink)

There are aspects of privacy theory that are analogous to quantum theory. In particular one can define distillable key and key cost in parallel to distillable entanglement and entanglement cost. We present here classical privacy theory as a particular case of information theory with adversaries, where similar general laws hold as in entanglement theory. We place the result of Renner and Wolf—that intrinsic information is lower bound for key cost—into this general formalism. Then we show that the question of whether (...) intrinsic information is equal to key cost is equivalent to the question of whether Alice and Bob can create a distribution product with Eve using I M bits of secret key. We also propose a natural analogue of relative entropy of entanglement in privacy theory and show that it is equal to the intrinsic information. We also provide a formula analogous to the entanglement of formation for classical distributions. (shrink)

Is the quantum state part of the furniture of the world? Einstein found such a position indigestible, but here I present a different understanding of the wavefunction that is easy to stomach. First, I develop the idea that the wavefunction is nomological in nature, showing how the quantum It or Bit debate gets subsumed by the corresponding It or Bit debate about laws of nature. Second, I motivate the nomological view by casting quantum mechanics in a “classical” formalism (Hamilton–Jacobi theory) (...) and classical mechanics in a “quantum” formalism (Koopman–von Neumann theory) and then comparing and contrasting classical and quantum wave functions. I argue that Humeans about laws can treat classical and quantum wave functions on a par and that doing so yields many benefits. (shrink)

The quantum information introduced by quantum mechanics is equivalent to a certain generalization of classical information: from finite to infinite series or collections. The quantity of information is the quantity of choices measured in the units of elementary choice. The “qubit”, can be interpreted as that generalization of “bit”, which is a choice among a continuum of alternatives. The axiom of choice is necessary for quantum information. The coherent state is transformed into a well-ordered series of results in time after (...) measurement. The quantity of quantum information is the transfinite ordinal number corresponding to the infinity series in question. The transfinite ordinal numbers can be defined as ambiguously corresponding “transfinite natural numbers” generalizing the natural numbers of Peano arithmetic to “Hilbert arithmetic” allowing for the unification of the foundations of mathematics and quantum mechanics. (shrink)

The classical arguments against metaphysics provided by Immanuel Kant, neopositivists and recently by analytical philosophers focus on the problem of meaning. In my paper I would like to shed a little bit of light on different dimensions of this problem in the metaphysical discourse and make a proposition how to overcome the difficulties that arise from this kind of discourse.

I distinguish two ways of developing anti-exceptionalist approaches to logical revision. The first emphasizes comparing the theoretical virtuousness of developed bodies of logical theories, such as classical and intuitionistic logic. I'll call this whole theory comparison. The second attempts local repairs to problematic bits of our logical theories, such as dropping excluded middle to deal with intuitions about vagueness. I'll call this the piecemeal approach. I then briefly discuss a problem I've developed elsewhere for comparisons of logical theories. Essentially, (...) the problem is that a pair of logics may each evaluate the alternative as superior to themselves, resulting in oscillation between logical options. The piecemeal approach offers a way out of this problem andthereby might seem a preferable to whole theory comparisons. I go on to show that reflective equilibrium, the best known piecemeal method, has deep problems of its own when applied to logic. (shrink)

I present a paradoxical combination of desires. I show why it's paradoxical, and consider ways of responding. The paradox saddles us with an unappealing trilemma: either we reject the possibility of the case by placing surprising restrictions on what we can desire, or we deny plausibly constitutive principles linking desires to the conditions under which they are satisfied, or we revise some bit of classical logic. I argue that denying the possibility of the case is unmotivated on any reasonable way (...) of thinking about mental content, and rejecting those desire-satisfaction principles leads to revenge paradoxes. So the best response is a non-classical one, according to which certain desires are neither determinately satisfied nor determinately not satisfied. Thus, theorizing about paradoxical propositional attitudes helps constrain the space of possibilities for adequate solutions to semantic paradoxes more generally. (shrink)

This paper proves that Maxwell's Demon is compatible with classical mechanics. In particular it shows how the cycle of operation - including measurement and erasure - can be carried out with no entropy cost, contrary to the Landauer-Bennett thesis (according to which memory erasure costs kln2 of entropy increase per bit). The Landauer-Bennet thesis is thus proven to be mistaken.

A practical viewpoint links reality, representation, and language to calculation by the concept of Turing (1936) machine being the mathematical model of our computers. After the Gödel incompleteness theorems (1931) or the insolvability of the so-called halting problem (Turing 1936; Church 1936) as to a classical machine of Turing, one of the simplest hypotheses is completeness to be suggested for two ones. That is consistent with the provability of completeness by means of two independent Peano arithmetics discussed in Section I. (...) Many modifications of Turing machines cum quantum ones are researched in Section II for the Halting problem and completeness, and the model of two independent Turing machines seems to generalize them. Then, that pair can be postulated as the formal definition of reality therefore being complete unlike any of them standalone, remaining incomplete without its complementary counterpart. Representation is formal defined as a one-to-one mapping between the two Turing machines, and the set of all those mappings can be considered as “language” therefore including metaphors as mappings different than representation. Section III investigates that formal relation of “reality”, “representation”, and “language” modeled by (at least two) Turing machines. The independence of (two) Turing machines is interpreted by means of game theory and especially of the Nash equilibrium in Section IV. Choice and information as the quantity of choices are involved. That approach seems to be equivalent to that based on set theory and the concept of actual infinity in mathematics and allowing of practical implementations. (shrink)

Empiricism is a claim about the contents of the mind: its classic slogan is nihil est in intellectu quod non fuerit in sensu, ‘there is nothing in the mind (intellect, understanding) which is not first in the senses’. As such, it is not a claim about the fundamental nature of the world as material. I focus here on in an instance of what one might term the materialist appropriation of empiricism. One major component in the transition from a purely (...) epistemological claim about the mind and its contents, to an ontological claim about the nature of the world, is the new focus on brain-mind relations in the eighteenth century. Here I examine a Lockean trajectory as exemplified in Joseph Priestley’s 1777 Disquisitions Relating to Matter and Spirit. But Locke explicitly ruled out that his inquiry into the logic of ideas amounted to a ‘physical consideration of the mind’. What does it mean, then, for Priestley to present himself as continuing a Lockean tradition, while presenting mental processes as tightly identified with ‘an organical structure such as that of the brain’ (although he was not making a strict identity claim as we might understand it, post-Smart and Armstrong)? One issue here is that of Priestley's source of ‘empirical data’ regarding the correlation and indeed identification of mental and cerebral processes. David Hartley’s theory in his 1749 Observations on Man was, as is well known, republished in abridged form by Priestley, but he discards Hartley's 'vibratory neurophysiology' while retaining the associationist framework, although not because he disagreed with the former. Yet Hartley was at the very least, strongly agnostic about metaphysical issues (and it is difficult to study these authors while bracketing off religious considerations). One could see Locke and Hartley as articulating programs for the study of the mind which were more or less naturalistic (more strongly so in Hartley’s case) while avoiding ‘materialism’ per se; in contrast, Priestley bit the (materialist) bullet. In this paper I examine Priestley’s appropriation and reconstruction of this ‘micro-tradition’, while emphasizing its problems. (shrink)

We look into the ontology of quantum theory as distinct from that of the classical theory in the sciences. Theories carry with them their own ontology while the metaphysics may remain the same in the background. We follow a broadly Kantian tradition, distinguishing between the noumenal and phenomenal realities where the former is independent of our perception while the latter is assembled from the former by means of fragmentary bits of interpretation. Theories do not tell us how the noumenal (...) world is constituted but are conceptual constructs applying to models generated in the phenomenal world within limited contexts. -/- The ontology of quantum theory principally rests on the view that entities in the world are pervasively correlated with one another not by means of probabilities as in the case of the classical theory, but by means of probability amplitudes involving finely tuned phases characterising the oscillatory behaviour of quantum mechanical states. -/- The amplitude-dependent correlations (quantum entanglement) exist over and above the classical ones expressed in terms of probabilities. While the classical correlations are essentially local in nature, quantum correlations are shared globally in the process of environment-induced decoherence. The decoherence is an effectively random process that removes local correlations in the course of global sharing of entanglement—the removal being especially manifest in the case of systems that appear as classical ones. It is this aspect of the decoherence process that makes the so-called measurement postulate (one relating to wave function collapse) cohere with the rest of the principles of quantum theory where the latter implies a Schrodinger type time evolution of quantum mechanical systems. -/- The mathematical basis of the quantum correlations consists of the description of pure states of a system in terms of vectors in a linear vector space (a mixed state appears as an admixture of pure states with some probability distribution associated with it) and, in addition, the description of (pure) states of composite systems as vectors in the product space arising from the component sub-systems. -/- The crucial aspect of the decoherence process, of significance in the context of the apparent incompatibility of the measurement postulate with the unitary Schrodinger evolution, relates to the fact that it is almost instantaneous in the case of a classical object (one that is nevertheless amenable to a quantum description). Indeed, the decoherence time is, in all likelihood, of the order of the Planck scale, being driven by field fluctuations in the Planck regime. This points to factors of an unknown nature determining the finest details of the decoherence process since Planck scale physics remains an obscure terrain. -/- In other words, quantum theory is, to all intents and purposes, in the need of a radical revision, in keeping with the fact that all theories are defeasible and need revision as our domains of experience expand and get realigned in a complex manner. The context within which quantum theory (and quantum field theory too) is defined is set precisely by the Planck scale, across which a novel theoretical framework is likely to emerge. However, as in the case of theory revisions in general, that emerging theory will stand in an asymmetric relation of incommensurability with the present-day quantum theory, where the concepts of the latter will be comprehensible in terms of those of the former, but the converse will not hold. (shrink)

Since the emergence of computing as a mode of investigation in the sciences, computational approaches have revolutionised many fields of inquiry. Recently in philosophy, the question has begun rendering bit by bit—could computation be considered a deeper fundamental building block to all of reality? This paper proposes a continuum computing construct, predicated on a set of core computational principles: computability, discretisation, stability and optimisation. The construct is applied to the set of most fundamental physical laws, in the form of non-relativistic (...) conservation equations which underpin our governing physics. The discretisation approach divides all of space into a mesh of discrete computational cells, and evolution of data in those cells must obey pre-defined stability conditions from established continuum computing theory, namely, the Courant–Friedrichs–Lewy condition. Evolving cell-state data in a manner which logically optimises computational efficiency, combined with the defined stability condition, the construct derives a central coupling of space, time, and the fastest speed of information propagation. This coupling formed at the lowest level by the computing construct, naturally and inherently produces aspects of special relativity and general relativity at the macroscale. This paper therefore proposes a new explanation of why the nature of space and time may be fused, and explores simple emergent congruities with relativity. The theory invites us to reverse the philosophical premise of the original Simulation Argument. This argument currently leads us to consider: how might all of the observed physics of our reality be reproduced computationally in a simulation of our existence? This work asks instead: could foundations of the physics of our universe—namely spacetime coupling—emerge inherently, and necessarily, from fundamental principles of computation? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Fellini's Crowds and the Remains of ReligionAndrew Mckenna (bio)The fascist parade in Federico Fellini's Amarcord enables us to take the measure of the director's analytic and inteve genius. It begins amid swirls of dust and smoke emanating from the town train station, as if attributing the successful spread of Italian fascism to a failure of perception. The party is, as the saying goes, blowing smoke in our face, producing (...) a cultural climate favorable to murky thinking. The haze connotes the inability to properly envision phenomena with any mental or moral clarity, to distinguish matters clearly, such as the difference that the film suggests in a later scene, with comic irony, between a real military victory and shooting a gramophone out of a bell tower because it is playing the communist Internationale.But we cannot get away with anything like blaming fascism only on the weather, moral or physical. Far more revealing is the next sequence of shots, in which local party officials and members, all in uniform, are shown running a little breathlessly in loose formation, while exchanging remarks that express gleeful admiration of their leader and his party. They hustle up some stairs in the same loose formation and stand facing the camera, medium close-up, in order to acclaim the party slogans booming from loudspeakers. They shout in unison before, we note, the slogans are fully pronounced, so that we are made aware that they are not really listening to what is being said, but only acting in concert. Their acclamation is comically out of sync—with reality, perceptual and, by implication, social. This image of the bersaglieri running in unison is familiar to spectators at political rallies and from newsreels at the time, and to historians since then. But Fellini has moved the camera in closer than it has ever been before, combining two or three characters in a head-shot as they trot up the street. It is a classic gesture of defamiliarization, as the Russian formalists called it when identifying art-work, that makes this phenomenon available to deeper understanding. [End Page 159]We have just viewed a penetrating analysis of group action, a symbolic discourse on crowd behavior as it concerns organized political activity. The running here is not natural to such a group; it must mean something. It isn't dictated to them as orders; it must obey the dictates of the phenomenon that Fellini is revealing to us. This brilliantly orchestrated scene prompts the question: why, when, for what reason does a crowd run? The answers, typically, are two: in fear, in panic, as from fire or flood; or in rage, in fury, as against an abhorred enemy culprit—to the Bastille, or the gallows, or the nearest tree or lamppost that can serve as such. Though it is closer to the second case, Fellini's gang of fascists fits neither of these models precisely, and we have to step back a bit and reflect upon what he is representing to us about crowd behavior and organized political activity of a certain kind, of the kind that can only succeed, perhaps, amid a hazy climate of moral perception. We need to probe further the logic of this phenomenon, to explore the meaning of what appears before our eyes, as the philosophers do when they say they are doing phenomenology. We can do this by further considering alternative models of behavior.In a military parade, we have an organized crowd of a certain specific type, in which a group is massed in rigid formation and everyone moves in lock-step order to the regular beat of the drum or to a repeated count of numbers. Fellini gives us an example of this in the fascist youth athletic exercises performed by uniformed groups of boys and girls who move their rifles and hoops to a steady eight-count beat. So we know the director of Amarcord is thinking about mass movements of all sorts. Moreover, his film also provides us with a crowd phenomenon at the opposite end of the social spectrum. At the beginning of the film, we witness the nightly passagiata, the evening town stroll still very... (shrink)

In lieu of an abstract, here is a brief excerpt of the content: The Portrait of a Miniature Giant PAUL BAROLSKY There was a time when the art of the sixteenth -century Florentine painter Agnolo Bronzino was reviled for its aesthetic excesses. Writing in his classic “The Cicerone: An Art Guide to Painting in Italy,” the great nineteenth -century scholar Jacob Burckhardt wrote that “as an historical painter,” Bronzino must “be placed among the Mannerists,” a judgement equivalent to placing (...) him in an art historical hell. But, Burckhardt added, “as a portrait painter, he is inferior to none of his contemporaries, not even the Venetians.” Given the fact that among the Venetians, Titian is one of the great portrait painters, this is astonishingly high praise. Nowadays, it is not uncommon for art historians, appreciating Mannerism, to celebrate the elegance and preciosity of Bronzino’s exquisite portraits. Of all Bronzino’s portraits, that of the dwarf Morgante is one of the most beguiling. It is distinctive in so many ways. This picture is the subject of a remarkable book by the Israeli art historian Sefy Hendler, Gracious and Beautiful Monster : The Literary Universe of Bronzino’s Nano Morgante, which is an exceptional piece of scholarship. Different aspects of his book have influenced various scholars who have written about the picture and who have fruitfully exploited its various details. What needs to be appreciated, however, is the way in which this book brings out the extraordinary synthetic character of Bronzino’s strange painting and the diarion 28.3 winter 2021 Sefy Hendler, Gracious and Beautiful Monster: The Literary Universe of Bronzino’s Nano Morgante, Maschietto Editore, 2016. 158 the portrait of a miniature giant versity of ways in which it belongs to the courtly culture in which it was painted. The beauty of Hendler’s seemingly all-encompassing book is that it tells a fascinating and highly entertaining story with admirable brevity in just over seventy pages. Hendler, who packs a great deal of deeply absorbing information and insight into his slim and learned volume, is sensitive to the sentiment of Peter Whiffle’s well-known dictum: “You cannot begin not to tell until you know more than you are willing to impart.” Hendler’s exquisitely concise story concerns a favorite dwarf of Duke Cosimo de’ Medici, one Braccio di Bartolo in Poggio di Fornione, who flourished at the ducal court in the middle years of the sixteenth-century. Bronzino painted the dwarf for the Duke in 1552. His sometime rival, Giorgio Vasari, painter, architect, and biographer, described the picture as “beautiful and marvelous” in his Lives of the artists. The painting is double-sided, featuring a frontal view of the naked dwarf on the recto of the canvas (fig. 1) and a rear view of the dwarf, similarly exposed on the verso (fig. 2), where the dwarf’s backside dominates the composition. (We might well observe here that Bronzino specialized lasciviously in painting the culo (witness the coy Cupid in his famous Venus, Cupid, Folly, and Time). It is therefore not surprising that the anatomical backside rendered over and over again in Italian Renaissance art, with all its connotations, sexual and otherwise, has recently been the subject of a considerable body of scholarship. Hendler, himself writing on various writers of the period, offers little hints into the psycho-sexual dimension of Bronzino’s picture. Its depiction of so many birds leads inevitably to a consideration of the word “bird” in its sexual dimension. Enough said. If Morgante’s posterior is manifest on the verso, the recto of the painting has its own special interest. A butterfly flies by the dwarf directly and conveniently in front of his genitals—a coy if not teasing gesture of decorum. The portrait once hung in the Palazzo Vecchio, which had become a ducal residence. In recent years it has moved around quite a bit, settling in the Galleria Palatina of the Palazzo Pitti, once a ducal residence. Vasari’s description of the picture is not without a certain iro- Paul Barolsky 159 ny, since the beautiful form of the painting as painting stands in opposition to the less than beautiful dwarf. The writer Anton Francesco Grazzini captured this paradox in his poem on the occasion of the death... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Lermontov And The Omniscience Of NarratorsDavid A. GoldfarbGod and fictional narrators are the only beings who are sometimes considered omniscient. God, who is sometimes regarded as not fictional, is frequently also regarded as omnipotent. Narrators, who normally seem to have no sphere of action save for conveying information to readers, particularly when they speak omnisciently in the third person, are not considered to have “power” in any way, because (...) they are supposed to function outside the story. God always speaks in the first person, and is regarded as an all-powerful agent.But what happens when the narrator gets in on the action? First-person narrators can enter the plot, speaking in the voice of personal narrative, and sometimes “know” as much or more than some third-person narrators who are supposedly “omniscient.” The positivistic “third-person omniscient” narrator of Turgenev’s Fathers and Sons, for instance, knows only what he sees, and though his omnipresence allows him to see quite a bit, he has virtually no access to the minds of the characters, as do the psychologically omniscient third-person narrators of Tolstoy or Henry James. If knowledge were thus limited in the context of a novel to observables, a first-person narrator who gets around enough could appear much like an omniscient narrator, while also appearing to present a particular point of view. Conversely, the third-person narrator’s seeming objectivity is similarly illusory. Any narrator “chooses” what information to relay, and when and how to relay it. In a sense, third-person omniscient narrators fictionally determine what counts as “the story,” creating the fictional world with their godlike voice. Some overbearing narrators, like Nikolai Chernyshevsky’s anonymous first-person narrator in What Is To Be Done, adopt not only an omniscient and objective standpoint with regard to the actions and [End Page 61] thoughts of the characters, but even presume to tell readers how to interpret the events in the novel. Therefore, all narrators have varying amounts of both knowledge and power, and in some cases they may approach, within variously circumscribed spheres of knowledge and agency, omniscience and omnipotence.In this essay, I would like to explore the range of constraints and effects of the narrator’s fictional power and knowledge. As a test case, I have chosen Mikhail Lermontov’s novel, A Hero of Our Time (Geroi nashego vremeni). Writing between 1837 and 1840, Lermontov was one of the first Russian writers to experiment with the form of the novel, influenced primarily by contemporary English, French, and German examples, as well as the classical epic, making this work, like many of the early Russian novels of the 1820s and 1830s, a jumble of narrative styles interestingly layered on each other. It is a particularly fecund work for studies of narrative subjectivity, because characters shift from narrator to narratee across a variety of genres, all in one text.A Hero of Our Time is composed of five major chapters: “Bela,” “Maksim Maksimich,” “Taman,” “Princess Mary,” and “The Fatalist,” the last three of which comprise the journal of the main character, the officer Grigory Pechorin. The “journal” chapters are preceded by a brief section, set in 1838 or 1839, sometime after Pechorin’s death, called the “Introduction to Pechorin’s Journal.” In “Bela” an unnamed traveler gathering stories in the Caucasus during the year 1837 meets an older officer, Maksim Maksimich, who tells a yarn about the Byronic adventures of Pechorin in the spring of 1833 involving his abduction of a Circassian woman after whom the chapter is named. The second chapter is an interlude, which takes place in 1837, where Maksim and the first narrator actually meet Pechorin, whom Maksim has not seen for about five years, and Pechorin gives his diaries to the first narrator. “Taman” recounts, in the form of a diary, a strange incident in which Pechorin, around 1830, meets smugglers while stranded in the Crimea and is nearly drowned by a young girl. “Princess Mary,” the longest tale, takes place in May 1832—a love story modeled after Aleksander Pushkin’s Eugene Onegin, culminating in a duel in which Pechorin prevails over a certain Grushnitskij, his friend earlier in the... (shrink)

To those who know little about the Middle Ages, the copying of manuscripts of “the ancients” (whether classical, such as the Roman poet Horace, or Christian, such as Saints Jerome or Augustine) often seems either a laudable act of preserving the past or an unfortunate fixation on repeating the words of others rather than penning new and original compositions. Even scholars of the Middle Ages appear sometimes more interested in new types of works such as fabliaux or courtly romances written (...) in the vernacular; when they study the practice of copying, they often concentrate on identifying prototypes or legacies. Finding old wine in old bottles has been a fairly constant theme in medieval studies; sometimes, we must admit, medievalists have just thrown out the old bottles and moved on to something completely new. In this context, it may seem strange to find a work about medieval Latin manuscript commentaries titled “The Birth of the Author,” responding to Roland Barthes's well-known essay “The Death of the Author,” published in 1984 and cited repeatedly since. What can it mean to see new, self-conscious awareness of the act of personal creation in works that are copies by scribes of other works that themselves comment on yet earlier works, often of a certain age or canonicity? Yet in this intelligent, engaging, and beautifully produced book, art historian Jeffrey Hamburger not only shows how those who wrote commentaries came to suggest that anyone who composes a work (even the scribe who copies it) could be considered a creator of meaning but also that the images in commentaries themselves sometimes make statements—indeed, statements more radical than those in the text—about the author of the work being illustrated. Long known as one of the relatively rare historians of medieval art equipped with a wide knowledge of theology and hence of how images respond to and reflect text, Hamburger here shows himself possessed of a shrewd eye for the image itself. He studies illuminated prefaces to, among other texts, the prose and poetic works of Horace as used in the medieval classroom, copies of the major biblical commentary of the High Middle Ages, the Glossa ordinaria, and Rupert of Deutz's erotically charged commentary on the Song of Songs. Changing the lens through which scholars have usually viewed such texts, Hamburger argues that images of authors of commentaries sometimes go beyond anything in the text to assert the authority not only of the author of the text commented on and of the commentator but occasionally even of the scribe.The Birth of the Author is a work of complicated analysis, and its full power demands close attention. Understanding how images construct claims that go beyond the text involves a good deal of careful looking. Hamburger is a patient and clear guide, but the reader must be prepared to flip back and forth between the magnificent colored images the publisher provides and to follow what are often painstaking arguments from comparison of small visual differences or puzzling identifications of seemingly strange details. The result of doing so is, however, to gain not only the reward of Hamburger's ingenious conclusions but also a lesson in how to look. For example, in a discussion of Gilbert Universalis's commentary on the Lamentations of the Hebrew prophet Jeremiah, Hamburger shows how Gilbert not only identifies Jeremiah as a “divine rhetorician” but also assimilates his own act of authorship to Jeremiah's prophetic speech. In the only extant copy of Gilbert's text that has a program of illustrations, the artist constructs both Jeremiah's speech and Gilbert's interpretation as similar acts of creation by framing both authors in parallel architectural images that evoke the Old Testament temple and a Christian church. Or to give a final example of Hamburger's interpretive reach: the book concludes not with yet another medieval preface but with an example of the far less usual manuscript epilogue. Here not only commentator, scribe, and illustrator but even the medieval reader construct themselves. Reception becomes interpretation, illustration becomes construction. In a commentary by the Carolingian figure Sedulius Scotus (fl. 840–60) on the Roman grammarian Donatus (mid-fourth century), the illustrator depicts Donatus as author and scribe (thus assimilating author into copier and vice versa). On the same folio, a later medieval reader constructs himself as reader/author in a charming marginal doodle that seems to entrap Donatus in a sort of hangman's noose. Thus, a bit wryly perhaps, Hamburger—himself teacher, commentator, and consummate scholar—seems to suggest that even frustrated students can construct themselves as interpreters and, yes, authors. Behind the seeming repetition and backward glance of the images in medieval commentaries lies radical and forward-looking self-awareness of the acts of authoring, interpreting, reading, and imagining. In Hamburger's analysis, the most seemingly conventional of medieval genres—the preface to commentaries on the texts of others—is a locus of the birth in illustration of the self-conscious and self-expressive author and reader. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Comedy of Menander: Convention, Variation and OriginalityDavid KonstanZagagi, Netta. The Comedy of Menander: Convention, Variation and Originality. Bloomington and Indianapolis: Indiana University Press, 1995. 210 pp. Cloth, $39.95.In his comedies, Menander exploits a relatively limited range of characters and scenes. His achievement, as Netta Zagagi shows, lies in subtle variations on inherited formulas rather than in radical departures from them. As an example of Menander’s art, Zagagi (...) (32–33) cites the characterization of the young Moschion in Perikeiromene, who is gloriosior than Polemon, the love-sick miles. Again, Chrysis in Samia, because she acts in league with Moschion against his father, “represents a pattern of behaviour traditionally reserved for the character of the mother in comedy” (33). Behind these modifications and mergings of types, Zagagi sees an ethical motivation, best illustrated in Micio’s condemnation of his stepson’s behavior toward the woman he has raped; Terence’s Adelphi, based on Menander’s, is “the only play known to us in which any serious consideration is given to the problematic nature of the story pattern under review” (43). Surely Charisius’ soliloquy in Epitrepontes is another example. Zagagi’s reflections on Menander’s sensitivity to his personae, in contrast to Aristophanes’ delight in caricature (45), are fair enough. It is less clear that Menander differs significantly from the practice of other poets of New Comedy, as Zagagi suggests (32).In the second chapter, Zagagi explains Menander’s method of composition by invoking three principles or techniques that are fundamental to his plays: “polyphony,” “economy,” and “emphasis on human interaction.” These are catch-all terms. “Economy,” for example, refers to Menander’s restraint in the development of scenes that might have “diverted the spectator’s attention from the main subject” of an episode (60). The same term covers Menander’s ability to set out necessary information without undue repetition (62), as well as his thrifty use of devices such as Knemon’s bucket, which first gets dropped in the well and subsequently causes the misanthrope himself to fall in (64). Such dramatic parsimony is the stock-in-trade of well-made plays.Polyphony too, designates three different things. Zagagi ignores Bakhtin’s now classic use of the term to refer to the amalgamation of generic voices characteristic of the novel. Instead, she describes as polyphony the mixture of registers achieved by crossing para-tragic bits of dialogue with the plain style of comedy (54), divine intervention in mortal affairs (57), which is treated in detail in the sixth chapter, and the interweaving of two plot lines in a single play—not contaminatio, precisely, but rather a deft combination of two or more story patterns. [End Page 127]Thus, Dyskolos is analyzed (47) into a “romantic” strand, involving Sostratos’ efforts to win Knemon’s daughter as his bride, and a story line centered on the character of the misanthrope (Zagagi adds for good measure two “minor strands”: the sacrifice to Pan and the Gorgias plot). Zagagi sees as the price of this complexity a loss of dramatic unity: in order to avoid compromising the sketch of Knemon’s grumpiness, Menander does his best to keep the two plots of the comedy separate: “It is precisely from Menander’s constant effort to preserve the credibility of his main hero’s [i.e., Knemon’s] character by shielding him from the romantic action of the play, that the disunity of the Dyskolos stems” (47). This interpretation illustrates a major weakness in Zagagi’s search for elementary units of narrative as the basis of Menandrean composition. Every romantic plot requires not only a lover, but an obstacle or blocking figure (in Northrop Frye’s expression) as well, who, for motives of his own, inhibits the realization of the lover’s passion. In many plays, this function falls to the father of the adulescens, who disapproves of his son’s liaison with a slave-girl or otherwise unsuitable partner. In Dyskolos, the father of the girl (who by the same token is represented as a citizen) plays this role. This is as simple a scheme as one can have, and violates no presumed rule of unity of action. Menander... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cartesian Skepticism from Bare PossibilityRobert WachbritIn making his case for skepticism, Peter Unger offers the following exotic case as one which “conforms to a familiar, if not often explicitly artic-ulated pattern or form” of skeptical reasoning: 1 imagine that there is an evil scientist who deceives subjects into falsely believing that there are rocks. Living in a world bereft of rocks, he induces belief in their existence using electrodes (...) implanted into the appropriate parts of the subjects’ brai ns, protoplasm, or systems through which he sends patterns of electrical impulses in accord with his deceptive designs. Unger then offers the following argument, which is supposed to instantiate the pattern or form of this kind of skeptical reasoning:If you know that there are rocks, then you can know that there is no such scientist doing this to you. But no one can ever know that there is no evil scientist who is, by means of electrodes, deceiving him into falsely believing there to be rocks. So... you never know that there are rocks. But of course we have chosen our person, and the matter of there being rocks, quite arbitrarily, and this argument... may be generalized to cover any external matter at all. From this, we may conclude... that nobody knows anything about the external world. 2After presenting this case and articulating its form, Unger claims that “this argument is the same in form as the ‘evil demon’ argument in Descartes’s [End Page 109] Meditations; it is but a more modern, scientific counter-part, with its domain of application confined to matters concerning the external world.” He then proceeds to describe Descartes’s argument as “the most compelling sceptical argument the phil osophical literature has to offer,” calling it in fact “the classical argument for scepticism.” 3These claims may seem a little bit surprising; for it is not obvious, even from the most careful attention to the text, that what is written about the evil demon in the First Meditation constitutes a skeptical argument at all, and the scholarly literature is generally, and perhaps surprisingly, quite confusing about just what is going on at the end of the First Meditation. Further, rather than being exceedingly compelling as Unger thinks, arguments of this form are not only assiduously avoided by Descarte s during his descent into skepticism but are in fact, as I shall argue with some help from Descartes, weak and considerably less compelling than the kind of skeptical challenges Descartes actually offers.My purpose in this paper, then, is to make two related points, one historical and the other philosophical. First, I will try to demonstrate, on the basis of both textual and critical evidence, that Descartes was not offering a (further and final) skeptica l argument when he invented his demon. I will try to exhibit some of the confusions in the scholarly literature about the text of the last three paragraphs of the First Meditation and, by so doing, support Gouhier’s position that the idea of the demon “ha s no metaphysical significance; it is purely a methodological artifice which permits doubt to continue....” 4 Second, I will show that embodied in Descartes’s rejection of this kind of skeptical reasoning is the very reason for its weakness, a weakness that should prevent it from being considered, as Unger considers it, the classical form of skeptical argument. The inventions of the First Meditation still exercise considerable hold on our philosophical imaginations. I hope to show that, at least as far as the demon is concerned, Descartes would have been surprised at some of the most conventional and entrenched scholarly interpretations given his use of it and not at all sympathetic to its employment in a skeptical argument. Lest the demon seem an old and tired subject of philosophical scrutiny, let me beg the reader’s indulgence by promising both a deeper than usual look into the text of the end of the First Meditation and some significant conclusions about Cartesian skepticism that are hardly commonplace and thus neither old nor tired. [End Page 110]I. The Textual EvidenceThe demon makes its first appearance in the last paragraph of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, And (...) burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

If Paideia means education in the classical sense, that is, education of the whole person, then authentically justifying such education in the modern world is extremely problematic. We are first drawn to practical defenses of a liberal education, that it is in itself of service and useful, both to society and to the individual. However, a practical defense of Paideia in the classical sense simply comes across as feeble and even a bit desperate and every savvy student knows it. Far (...) better, it seems, to take courses aimed at general problem solving, or at honing critical thinking skills, or at developing socio-political sophistication, than to read Shakespeare or Plato. (shrink)

In 1962 appeared one of the classic articles in Anglo-Saxon manuscript studies, the publication of two eleventh-century fragments of leaves of Old English found in the binding of a seventeenth-century printed book in the library of the University of Kansas, Lawrence. The fragment that more nearly concerns the present article now carries the shelf mark Pryce MS C2:1 in the Kenneth Spencer Research Library . It is a large part of a single leaf from The Legend of the Holy (...) Cross before Christ, an edifying work known in full only in a twelfth-century copy, Oxford, Bodleian Library, MS Bodley 343, fols. 14v–20v . Working from a photograph the great paleographer and codicologist N. R. Ker attributed the hand of the Kansas fragment to the scribe who also wrote the texts of two bits of the same work found in the library of Matthew Parker, archbishop of Canterbury , at Corpus Christi College, Cambridge, now MS 557 . He concluded, no doubt rightly, that all three are part of one manuscript. (shrink)