Like philosophy itself, Dune explores everything from politics to art to life to reality, but above all, the novels ponder the mysteries of mind. Voyaging through psychic expanses, Frank Herbert hits upon some of the same insights discovered by indigenous people from the Americas. Many of these ideas are repeated in mainstream American and European philosophical traditions like pragmatism and existential phenomenology. These outlooks share a regard for mind as ecological, which is more or less to say that minds (...) extend beyond the brain into the rest of the body and the surrounding environment. -/- The cross-cultural strands in Dune tie closely to Herbert’s life and interests. An outdoorsman born in the Pacific West, he had an abiding bond with a friend from the Quileute tribe, Howie Hansen. Herbert advocated for aboriginal rights and crafted well-intentioned if slightly stereotypical tales about indigenous characters, partly based on his visits with Northwest tribes. Carl Jung (1875-1961), whose idea of collective consciousness echoes aboriginal views, was among Herbert’s European influences. So was existential phenomenology, especially as developed by Martin Heidegger (1889-1976). The names of characters in one of Herbert’s novels—The Santaroga Barrier—in fact coincide with terms that Heidegger used to articulate how emotionally colored coping with our environment defines our existence. Many indigenous philosophers have treated phenomenology and its American cousin pragmatism in approving ways. Indeed, the ideas of North America’s first inhabitants seem to have been absorbed by pragmatists and even earlier by transcendentalists like Ralph Waldo Emerson (1803-1882) and Henry David Thoreau (1817-1862). -/- These different philosophies all advance a place-based psychology. Anne Waters, herself of mixed tribal heritage, generalizes the mindset of her people this way: “American Indian consciousness, and hence American Indian identity is … interdependent with our land base.” Lee Hester, a Choctaw thinker, adds that practices—not mere beliefs—are most important for native thought. American transcendentalists and pragmatists, as well as European phenomenologists, similarly see hands-on practices and environmental interactions as the core of experience. Extending this a little, they sometimes suggest experience isn’t individual but instead cultural. “Culture” is here understood as interactions within communities that define our worlds and experiences, as when we talk about the “French experience,” “culture” or “world,” or the “experience of parenthood.” This theme also shows up in indigenous thought. -/- Exploring the Dune universe, we find everything from land-based concepts of personal identity, to the idea of sharpening the mind through hands-on training, to collective notions of experience in cooperative tribes or through the genetic memory of central characters. The stories explore fate versus free will in cosmic contexts, introducing views from indigenous thought and the pragmatic philosophy of William James (1842-1910). Different forms of spiritualism mingle to shape minds and cultural mixtures around the globe, and the same occurs in the Dune series. The customs and personalities of characters fuse elements from Buddhism, Christianity, Hinduism, Judaism, Taoism, and especially Islam. The series not only highlights that religion shapes psychology, but also that faith connects to place, especially paralleling Judeo-Christian-Islamic desert faiths. In capturing these points, the Dune novels show that “our values, our lifestyles and even the ways we think and feel have been strongly influenced by our locations in history and geography. The study of the human mind is fundamentally the study of place.”. (shrink)

The miniseries Frank Herbert’s Dune (2000) and Frank Herbert’s Children of Dune (2003) offer a stark warning that people must think for themselves rather than relying on authority. In particular, they warn against overreliance on leaders and on religious authorities. The series tell the story of how, in the far future, Paul Atreides becomes dictator and religious leader over the human race, bringing slaughter and oppression in his wake. The chapter will consider the views of philosophers like (...) Plato, who believed that power should be concentrated in the hands of leaders with absolute authority, along with the views of philosophers who advocated democracy, like John Locke, John Stuart Mill, and John Dewey. The chapter will also examine the views of philosophers on religion, especially philosophers critical of religion, such as Locke, Thomas Paine, and Bertrand Russell. It is argued that the series present a strong case against allowing others to think for us, because the story they tell matches the historical record of the real world. When leaders have been given the power to be arbiters of truth, they have too often exploited those beneath them, using their positions to accumulate wealth, power, and glory. When too much trust has been placed in religious authority, it has likewise too often led to exploitation and repression. What is worse, the power of religion is uncontrollable, easily leading to violence and destruction. Having said that, the series fail to reflect that religion does good in the world. This chapter argues that, as maintained by W. K. Clifford, whether people should accept religious views depends on whether they have good grounds to believe that these views are true. This implies that people must not accept religious views without thinking the views through for themselves. (shrink)

History was a continuous cycle driven by the gods. Societies began by being small, impoverished, and insignificant, then became great, then proud and decadent, and finally were overthrown by a different small, impoverished people, with the cycle beginning anew. Herbert's historical universe in Dune is bound within a series of ever repeating cycle. Herbert's themes about human action, fatalism versus free will, and the repetition of religious motifs across vast distances of space and time. Greek mythology and tragedy (...) appear on the very first page of Dune with the use of a single word: Atreides. Much like in the Dune series, History emerged in the ancient Greek world by combining mythology, epic narrative, and tragedy. The Golden Path is the death of the constant cycles of imperialism and the freeing of humanity from constantly repeating old mistakes. (shrink)

Frank Herbert's gholas are a curious twist on the golem, a creature inspired by Jewish theology and folklore. Although Herbert's gholas differ in interesting ways from the traditional golem, the historic similarities can enrich and add to our appreciation of these creatures, especially Dune 's most famous and enduring ghola, Duncan Idaho. As is often the case with good science fiction, Herbert demonstrates remarkable foresight for many scientific and technological developments that had yet to occur when he wrote the (...) Dune series. This chapter explores Herbert's gholas from both of the perspectives; gholas as an extension of the golem tradition and as the anticipation of contemporary breakthroughs in biological science. The creators of the gholas, the Tleilaxu, retain their closely guarded, highly secretive knowledge, just as the golem creators of the legends. (shrink)

En este escrito nos proponemos mostrar la relación estrecha entre la problemática técnica y la vivencia histórica del dolor, propia de la era digital, en la que el sufrimiento es un sentimiento que se intenta negar o disfrazar. Desde nuestra perspectiva comprendemos el dolor como una experiencia fundamental que es importante asumir y vivir de forma cabal pues nos abre de manera originaria al mundo que nos rodea y a nosotros mismos. Para llevar a cabo esta tarea tomaremos en cuenta (...) la interpretación de Nietzsche y Jünger, quienes sostienen que el dolor tiene un carácter interpretativo epocal, esto nos lleva a reconocer la figura propia del dolor en la era de la técnica, donde se pretende ocultar esta experiencia con una apariencia de seguridad y confort que nos brindan la técnica, lo que se agudiza en la era digital con la autoexplotación y optimización de la existencia que denuncia Byung Chul Han. (shrink)

This article proposes a framework for the analysis of experienced discrimination in home mortgages. It addresses the problem of home mortgage lending discrimination in one of the richest areas of northern Italy. Employees of a local hospital were interviewed to study their perception of discriminatory behavior related to home financing. The analysis follows two steps. The first evaluates self-selection and the second focuses on the likelihood that applications are accepted by the bank. Findings show that discrimination is likely to appear (...) when the applicant’s nationality is considered. In addition to its findings, the study provides an original econometric model on a two-step procedure to test perceived discrimination and suggests a method and approach that may constitute a point of reference for those willing to study perceived discrimination. (shrink)

The Material and Ideological Base of the Old Babylonian State: History, Economy, and Politics. By Lukáš Pecha. Lanham, MD: Lexington Books, 2018. Pp. xvii + 316. $115.

The humanist theory of the nude is one of the places where what can be called a ‘poor metaphysics’ developed during the Renaissance. To construct the concept of the nude as a representation of man in his own right, art theorists used common scholastic categories such as substance and accident, form and matter, potentiality and actuality, quantity and quality, whole and part, soul and body. Resolutely poor in its object – the human body, the work of art – and in (...) its form – technical treatise, fictional dialogue, or simple working notes – this reflection is nonetheless rich and original because of what constitutes its very weakness: the contamination of the Aristotelian metaphysical tradition with Neoplatonism, Vitruvianism, elements of natural philosophy, musical theory, and even Kabbalah. It testifies less to the permanence of scholastic metaphysics during the Renaissance than to the ingenious adaptation of its tools to new, humbler, and more rebellious objects of thought. (shrink)

Enūma eliš exhibits a masterful array of intertextual borrowings that makes it exceptional among Akkadian literary texts. In this paper I discuss “intertextu- ity” as an analytical category and its suitability and limitations for the study of ancient compositions. I consider three different levels of intertextuality and present instances from an assorted group of texts. I finally show how a variety of intertextual types that are usually found in isolation are combined in Enūma eliš to create an original piece.

The text commonly known as the Babylonian Poem of Creation has attracted scholarly attention since it was first translated in the late nineteenth century, although critical editions have appeared only recently. In 2014 there was published a lengthy study on enūma eliš that presents a number of original approaches to the ancient composition. This new book is the subject of the following notes.

Objective Compare outcome of dogs that did and did not receive fresh frozen plasma (FFP) for treatment of pancreatitis. Design Retrospective case series between 1995 and 2005. Setting University referral hospital. Animals Seventy-four dogs were enrolled with a total of 77 Cases as 2 dogs had repeat episodes of pancreatitis. Diagnosis of pancreatitis was based on clinical signs, physical examination, and abdominal ultrasonographic examination. Interventions The medical database was searched for dogs with a diagnosis of pancreatitis. Information collected included (...) signalment, vital signs, CBC, use of FFP, length of stay, use of antimicrobials and supplemental nutrition, surgical intervention, preexisting illness, evidence of a coagulopathy and outcome. Outcome was compared between those patients that did and did not receive FFP. Measurements and Main Results Fifty-nine dogs survived to discharge. Two dogs with repeat pancreatitis survived to discharge after each episode. Thirteen dogs died and 2 were euthanized. FFP was administered to 20 dogs. Two dogs that were hospitalized for repeat pancreatitis did not receive FFP. Seven of 20 (35%) cases that received plasma died or were euthanized compared with 6 of 57 (12%) cases that did not receive plasma. Plasma administration was significantly related to outcome (P<0.001). Severity of illness scores were difficult to assign, however, dogs meeting criteria for systemic inflammatory response syndrome were not more likely to receive FFP. Other therapies included supplemental nutrition, antimicrobials, and surgical intervention, which did not affect outcome. Conclusions Mortality rate for those dogs receiving plasma was higher than those that did not. Severity of illness scores were difficult to assign; however, preexisting illness, evidence of systemic inflammatory response syndrome, and presence of a coagulopathy were not significantly different between the groups that did and did not receive FFP. No benefit for administration of FFP was noted. Additional investigation should be performed to confirm this result. 2009 Veterinary Emergency and Critical Care Society. (shrink)

This chapter introduces the idea that computation is a key tool that can help us understand how the human brain works. Recent years have seen a revolution in the kinds of tasks computers can perform. Underlying these advances is the burgeoning field of machine learning, a branch of artificial intelligence, which aims at creating machines that can act without being programmed, learning from data and experience. Rather startlingly, it turns out that the same methods that allow us to make intelligent (...) machines also appear to hold the key to explaining how our brains work. In this chapter, we explore this exciting new field and some of the questions that it raises. (shrink)

According to a growing trend in theoretical neuroscience, the human perceptual system is akin to a Bayesian machine. The aim of this article is to clearly articulate the claims that perception can be considered Bayesian inference and that the brain can be considered a Bayesian machine, some of the epistemological challenges to these claims; and some of the implications of these claims. We address two questions: (i) How are Bayesian models used in theoretical neuroscience? (ii) From the use of Bayesian (...) models in theoretical neuroscience, have we learned or can we hope to learn that perception is Bayesian inference or that the brain is a Bayesian machine? From actual practice in theoretical neuroscience, we argue for three claims. First, currently Bayesian models do not provide mechanistic explanations; instead they are useful devices for predicting and systematizing observational statements about people's performances in a variety of perceptual tasks. That is, currently we should have an instrumentalist attitude towards Bayesian models in neuroscience. Second, the inference typically drawn from Bayesian behavioural performance in a variety of perceptual tasks to underlying Bayesian mechanisms should be understood within the three-level framework laid out by David Marr ( [1982] ). Third, we can hope to learn that perception is Bayesian inference or that the brain is a Bayesian machine to the extent that Bayesian models will prove successful in yielding secure and informative predictions of both subjects' perceptual performance and features of the underlying neural mechanisms. (shrink)

This chapter discusses Descartes' answers to two questions still being asked today: Can machines fully imitate the functioning and behavior of living things? Can machines think? Descartes answers the first affirmatively and the second negatively. Descartes' two categorical answers are each rooted in the principle of the substantial distinction between body and soul—that is to say, in a metaphysical argument. In the Discourse on Method he asserts that there are two very certain means of distinguishing true men from anthropoid machines (...) intentionally designed to throw us off the track: the first is that they could never use words, or put together other signs, as we do in order to declare our thoughts to others. The second is that these machines would inevitably fail in other [things], which would reveal that they were acting not through understanding but only through the composition of their organs. Given this fact, the nature of the machinery a man of his time might have in mind is irrelevant in the chapter's discussion, and the modest development of 17th-century mechanization ought not to invalidate the perhaps exaggerated boldness of the positive answer to the first question, any more than it explains or, a fortiori, justifies the negative answer to the second. (shrink)

Frank Herbert’s Dune is the biggest-selling science fiction story of all time; the original book and its numerous sequels have transported millions of readers ...

In lieu of an abstract, here is a brief excerpt of the content:Dune(s)Michel Pierssens, co-founder of SubStance (bio)Any great work of art, be it literary or otherwise, is made of intricate enigmas that admit infinite solutions, indifferent to their content, true or false, since no one holds the key (or Occam style razor) to judge, not even its author. In the best of cases, indeed, the author has produced his œuvre precisely to confront the unknown and face the deadly (...) monsters that make the labyrinths worth exploring in the first place. The reader of the work, or watcher of the painting or film, cannot escape the perilous attraction of the cognitive maelstrom he, hesitantly or trustfully, enters at his own risk. Every word or stroke on canvas or chord or instant shutter of the camera or unending gros plan may hide unexpected doors to impossible worlds, each of them possible nonetheless. Love, hate, crime, lust, power, etc.: every facet of human experience can become scary or exciting forces to be faced, for just an instant or for an inconclusive lifelong struggle. Time is possibly the most intractable of those forces as only unconceivable gods can make of it their plaything. Similar to the desert planet of Frank Herbert's Dune, it harbors unpredictable monsters that destroy anything that moves—unless one learns to dance in an equally unpredictable fashion, winning a reprieve only to end up inescapably a fatality, having met the unavoidable fatum.SubStance has been travelling a much populated and cacophonic desert for fifty years, maintaining, despite the times' ubuesque twists and turns, its acrobatic démarche and tracing its empirical path through the intellectual dunes of two or three generations, collecting as it went many stimulating spices that it shared, avoiding its sale to the highest academic bidder. Editing a journal cannot be compared to the creation of a work of art, but it partakes in its aspiration to question the Known and face the Unknown, with the support of an army of minds devoted to the intriguing study of any cognitive coup de dés. [End Page 13]Michel Pierssens Michel Pierssens is co-founder of SubStance, with Sydney Lévy, and co-founder of the journal Histoires littéraires. He is Emeritus Professor of French literature, Université de Montréal.Copyright © 2023 Johns Hopkins University Press and SubStance, Inc.... (shrink)

Dune, released in 1984 and directed by David Lynch, from his own adaptedscreenplay of Frank Herbert’s epic science-fiction novel, provides a rich examplefor a reception study on ideas of authorship. On the one hand, Herbert’s 1960scult bestseller has evolved into a franchise and is thus regarded by Duneenthusiasts as a sacrosanct text. From a Lynch perspective, though, the film isusually seen as his least personal work – an event movie no less – and as such itholds the rank of (...) the most uncared for text in his filmic canon. It is the goal ofthis paper to analyse Dune’s meanings in relation to critical writings foundedupon the tenets of early auteurism so we might explore its function as areception preference for the predisposed reader. But rather than simply dismissauteurism as humanist idealism , the outcome of this paper seeks to also take account ofthe writing pleasures the author might bring to the interpretation of filmed texts. (shrink)