Viruses are major drivers of global biogeochemistry and the etiological agents of many diseases. They are also the winners in the game of life: there are more viruses on the planet than cellular organisms and they encode most of the genetic diversity on the planet. In fact, it is reasonable to view life as a viral incubator. Nevertheless, most ecological and evolutionary theories were developed, and continue to be developed, without considering the virosphere. This means these theories need to be (...) to reinterpreted in light of viral knowledge or we need to develop new theory from the viral point-of-view. Here we briefly introduce our viral planet and then address a major outstanding question in biology: why is most of life viral? A key insight is that during an infection cycle the original virus is completely broken down and only the associated information is passed on to the next generation. This is different for cellular organisms, which must pass on some physical part of themselves from generation to generation. Based on this premise, it is proposed that the thermodynamic consequences of physical information (e.g., Landauer’s principle) are observed in natural viral populations. This link between physical and genetic information is then used to develop the Viral Information Hypothesis, which states that genetic information replicates itself to the detriment of system energy efficiency (i.e., is viral in nature). Finally, we show how viral information can be tested, and illustrate how this novel view can explain existing ecological and evolutionary theories from more fundamental principles. (shrink)

: This paper articulates a view of the relation between cognition and being in Peirce's thought, especially derived from his early papers of 1868–69. Based on the rejection of intuitions, I argue that Peirce realized an isomorphic relation between cognition and being that functions as a semiotic foundation. I consider several challenges to these notions in the literature, including doubts about pansemioticism, foundationalism, and realism. In the end, I suggest that the semiotic foundation be thought of as a kind of (...) transcendental, in several senses of that term. (shrink)

Both the physiological and the pathological morphogenetic processes that we can meet in embryogenesis, neogenesis and degenerative dysgenesis present common features: they are ruled by three different kinds of mechanisms, one related to cell migration, the second to cell differentiation and the third to cell proliferation. We deal here with an application to the cambial growth which essentially involves the third type of mechanism.Woody plants produce secondary tissue (secondary xylem and phloem) from a meristematic tissue called vascular cambium, responsible for (...) the radial growth of a tree. This paper focuses on the formation of secondary xylem, considered in two dimensions in a cross-section framework. A new discrete modelling approach is used, based on the cellular scale, in order to attain a more accurate understanding of how the elementary microscopic behaviour of each cell takes part in the macroscopic morphogenesis. The mathematical model essentially uses an occurrence method simulating the main features of radial growth with simple geometric rules, such as Thom's division rule (Thom,1972)to account for the cell proliferation. The study applies to concrete instances in which the changes made in the geometrical cellular patterns of the vascular cambium clearly affect the shape of the tree, as in Pinus radiata (D. Don.). (shrink)

Jurgen Habermas's critical communications theory of society has excited widespread interest in recent years. The essays in this book explore the research implications of Habermas's theory for the analysis of modern problems of public life.

Aesthetic experience as a determining factor in music appreciation has lost salience in recent years, especially in philosophy of music education. Markand Thakar, music director of the Baltimore Chamber Orchestra and Duluth Superior Symphony Orchestra and co-director of graduate conducting at Peabody Conservatory, has written a book subtitled An Investigation into Musical Beauty. In a series of dialogues between a talented music student and a wise professor, he equates beauty with the aesthetic experience and cites this as the hallmark of (...) masterpieces in Western music of the seventeenth to twentieth centuries. The author reviews Thakar’s book, notes similarities and differences with Bennett Reimer’s philosophy, and defends the theory against the mandates of praxialism. (shrink)

Qu’elle soit ingrate ou réussie, la vieillesse soulève des questions incontournables : celles de la mort et de la souffrance, de la responsabilité et de la vulnérabilité. Du silence et de la parole aussi. Être vulnérable, c’est être fragile, friable ; c’est avoir besoin de son prochain. La vulnérabilité est liée, notamment, à la maladie, au grand âge, à la dépendance ou au fardeau de l’aide. Or, les personnes aidées et aidantes sont surtout des femmes. Il y a les femmes (...) du grand âge et les femmes de tous les âges, qui exécutent à leurs côtés, bénévolement, un travail domestique de santé. Faisons apparaître les obstacles au respect des droits et au pouvoir d’agir de ce « couple vulnérable » aidant-aidé, dans une perspective critique et féministe du droit et de l’éthique. Brisons le silence. (shrink)

Johnson conceptualizes the social responsibilities of digital media platforms by describing two ethical approaches: one emphasizing the discursive freedom of platform-users, the other emphasizing protecting users from harmful posts. These competing concerns are on full display in the current debate over platforms’ obligations during the COVID-19 pandemic. While Johnson argues both approaches are grounded in democracy, we argue that democratic commitments transcend the freedom/harm dichotomy. Instead, a commitment to democracy points toward social media companies’ responsibilities to structure their platforms in (...) ways that facilitate perspectival diversity and collective deliberation. (shrink)

Geographical features and cultural traits influence the character of big-mountain tourism in Alaska. This research considers the intersectionality of wilderness and frontier concepts on tourism culture, examines guides’ and clients’ motivations for participation, and relates these influences to the larger phenomena of tourism generally and nature tourism specifically. The findings show that Alaska’s big-mountain tourism is globalized in its political and economic scope. Guides imagine themselves as pioneers on a last frontier of mountain pursuits, notions that relate well to images (...) depicted of the region in literature and promoted by the tourism industry. Clients, on the other hand, come to Alaska because of its exceptional geography and unique mountain sporting culture, but are not as enamored with the mythos of the frontier. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Dialogue:The Principle of Civility in Academic DiscourseForest HansenSeveral months ago New York Times columnist David Brooks addressed the lack of civility in recent public discourse. "So... you get narcissists who believe they or members of their party possess direct access to the truth.... You get people who prefer monologues to dialogue.... You get people who... loathe their political opponents."1One might think that by contrast academia, and especially academic (...) publications, would provide a bastion of civil discourse. Alas, even academia has been infiltrated. At least it so appears to me when I read some of what has been recently published in the name of the philosophy of music education.I find that disheartening.However one defines "philosophy," it minimally entails raising questions whose answers are reasonably debatable. The key word here is "reasonably." Those who are committed to philosophical activity criticize positions they oppose by formulating arguments, giving examples, calling on accepted facts, clarifying the meaning of terms, and bringing to bear the principles of formal and informal logic. And thus they open themselves to counter-criticism of the same [End Page 198] sort. Nowhere in this enterprise is there need—or room—for invective, sarcasm, name-calling, ad hominems, or any other kind of personal abuse. One might call this The Principle of Civility in Academic Discourse.Philosophy differs in this respect from polemics. In one of its senses "polemics" means "the art or practice of disputation or controversy," and so seems a close cousin to philosophy. However, while "philosophy" traces its etymological roots to "love" and "wisdom," "polemics" is derived from "war." Polemics is a kind of verbal warfare. Typically polemicists are willing to use any tool at their disposal—even underhanded ones—to "win" the war of ideas. Polemics in this usual sense dispenses with objectivity and fairness (though it may make such a pretense). In fact, people who mount personal attacks thereby reveal their lack of philosophical tools and diminish their argument.Distinguishing philosophy from polemics does not mean that all philosophical claims are equal. Some positions are stronger than others, some weaker. Some can be dismissed relatively out of hand if they are illogical or do not square with normal experience. But even when positions are inadequate, the persons who advance the positions deserve to be treated with courtesy, respect, and collegiality.Typically, people trained in philosophy assimilate this principle as a matter of course. They have learned that over the centuries great minds have disagreed about every philosophical issue—whether the make-up of ultimate reality, the nature and sources of knowledge, the existence of god, the justification of morality. So too with what the nature of music is, what music should be taught and how, what is the purpose of music education.No one has a corner on the answers to such questions. The floor should always be open to debate—to consideration of new proposals and reconsideration of old ones. In disciplines where some matters are more or less settled (as in natural science and mathematics), such arguments disappear and new quests hope to find new settled answers. But in philosophy, more fundamentally than in any other traditional academic discipline, the discussion, the reasoned argumentation, is ongoing.Many years ago Douglas Morgan, in his essay "Must Art Tell the Truth"2 eloquently captured this spirit of philosophy:Philosophy is itself to be conceived as an invitational, dialectical activity rather than as any system of dicta. A philosopher can be thought of as [one] who, far from commanding assent with any thunderous barrage of argumentative artillery, invites you to think [about] the world or some aspect of it in a somewhat different way. "Come in," [the philosopher] says cordially, "and welcome. Sit down. Let me mix you an idea. Sip this thought, and tell me how your own experience looks. If you should find my way of construing our [End Page 199] world unappetizing or unpromising, pray show me your way. Let us once again in the good old Greek way, dia-lego, talk it through together."Finally, The Principle of Civility in Academic Discourse ought to be conveyed in our classrooms, as we foster new generations in... (shrink)

John Stuart Mill examine dans le dernier des Trois Essais sur la religion l’argument du Dessein. Ce faisant, il l’évalue selon les normes épistémiques définies dans le Système de logique en dressant un parallèle avec l’hypothèse présentée par Darwin dans L’Origine des espèces. Pour comprendre le verdict nuancé rendu par Mill, il faut faire intervenir trois niveaux d’analyse : la relation entre méthode inductive et méthode hypothétique (théorie de la connaissance), le choix du phénoménalisme qui limite l’engagement naturaliste (métaphysique), la (...) question de l’espoir raisonnable (philosophie morale). La philosophie de la religion engage ainsi l’unité de la philosophie de Mill. (shrink)

Humans preferentially remember information processed for their survival relevance, a memorial benefit known as the survival processing effect. Memory is also biased towards information associated with the prospect of reward. Given the adaptiveness of these effects, they may depend on similar mechanisms. We tested whether motivation drives both effects, with reward incentives that are known to boost extrinsic motivation and survival processing perhaps stimulating intrinsic motivation. Accordingly, we manipulated survival processing and reward incentive independently during an incidental-encoding task in which (...) participants chose between pairs of words concerning their relevance for a scenario, and examined the effects on encoding event-related potentials activity and later performance on a surprise recall test. We hypothesized that if survival processing fosters intrinsic motivation, it should reduce the beneficial effects of extrinsic motivation. In contrast to this prediction, we found that reward incentive and survival processing independently improved memory and that the P300, a measure of lower-level cognitive resource allocation, was increased by reward incentive independent of survival processing. Further, survival processing and reward incentive independently increased the frontal slow wave, a measure of higher-level elaboration. These findings suggest that while survival processing and reward incentive may both increase encoding elaboration, the memory-enhancing effect of survival processing does not depend on increased intrinsic motivation. Additionally, we replicated a recent finding whereby the survival processing effect generalizes to a choice-based encoding task and further showed that the beneficial effect of choice on memory likely does not interact with either survival processing or reward. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 76-79 [Access article in PDF] Response to Kingsley Price, "How Can Music Seem to be Emotional" Forest Hansen Lake Forest College Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can (...) seem to have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages of instrumental music. On that occasion he systematically dissected the general theory which explains such attributions by reference to feelings or emotions caused in the listener, and he more explicitly criticized the causal model theories of Peter Kivy, Jerrold Levinson, and Roger Scruton. He half-promised, then, that he would in time examine another kind of relevant theory-namely one that explains by showing that music means feelings.Now he has examined for us what is probably the strongest version of such a theory-that of Susanne Langer-and found it wanting. And he has left us in limbo by refusing to reveal his own true and best theory. Perhaps for that we must wait for PME-VI!By way of responding to Price, I want to point out two things in his argument which I find rather slippery, one perhaps not so important and one that I think is [End Page 76] quite important. Then I will make a quasi-defense of Langer's theory of meaning which may evade Price's criticism. Finally, I would like to hazard a guess as to the kind of position which Price might put forward if he were not so reticent.First, the point that is not so important. There has long been an amazing amount of uncertainly about what constitutes an emotion or a feeling, amazing because philosophers and subsequently psychologists have been reflecting on and doing mental and laboratory experiments in the area for a long, long time. Some take feeling to be the larger field of which emotions are a subset; others do the reverse. Some differentiate feelings or emotions or both in terms of related behavior, whereas others put them in the box of subjective experience. So my first comments are meant to be cautionary with respect to speaking about feelings or emotions.Price, for instance, speaks of love as a kind of emotion. I find that peculiar, especially in the way he describes Romeo's love as "continuous, not a succession of discrete moments" and as something that has a more or less clear beginning and end with no lapses in between. But there must be many times that Romeo does not experience the so-called emotion, when he is asleep, for instance, or doing nothing between acts. I love my wife Valerie, but when I am speaking now, and in most of my actions every day, I am not experiencing some set of feelings that combine to make the emotion "Forest's love of Valerie." Often what we call emotions are only intermittently experienced and are perhaps best understood as dispositions or attitudes or beliefs or commitments.My second, and I hope more telling, point is to note how Price is playful with the notion of "reality." He makes it sound as if the distinction between appearance and reality is something that can be quite clear and unambiguous, even if it is not so in particular situations like that of a person seeing a nonexistent oasis or of Lady Macbeth seeing a nonexistent spot on her hand. But note how Price so often gives us examples from the world, so to speak, of art. Lady Macbeth and Romeo do not exist as real people. Those who enact their parts do, of course, but the Lady Macbeth actor is not fooled about the spot on the hand, and the Romeo actor might quite dislike the Juliet actor and not even be sexually attracted to her. Unlike us poor mortals, Romeo and Juliet live and die again and again... (shrink)

La seule alternative au dualisme est-elle la thèse de l'identité entre états mentaux et états cérébraux? Non, si on en croit Alva Noë (Out of our Heads, 2009) et W. Teed Rockwell (Neither Brain nor Ghost, 2005). Privilégiant les interactions entre cerveau, corps et environnement, ils entendent proposer une critique des fondements des neurosciences cognitives. Cependant, ni la conception énactiviste de Noë, ni la conception néopragmatiste de Rockwell n'ont les implications bouleversantes qu'elles prétendent avoir. Le conflit apparent des théories semble (...) en outre se ramener à des différences de perspective sur la cognition, l'esprit et la conscience. Is the claim that mental states and brain states are identical the only alternative to Cartesian dualism? Alva Noë and W. Teed Rockwell both challenge this view and elaborate a critique of the principles of cognitive neuroscience that draws on an analysis of the interactions between brain, body and the external environment. However, neither Noë's enactivist view, nor Rockwell's pragmatic conception do have the groundbreaking implications they are supposed to have. Moreover, the alleged conflict between these rival conceptions seems to be reducible to differences of perspective on cognition, mind and consciousness. (shrink)

Locke distingue : la connaissance intuitive, la connaissance rationnelle et la connaissance sensitive. C'est par celle-ci que nous accédons à la connaissance des « autres choses ». Or on peut se demander comment le sens peut être à la fois juge et témoin. En fait, pour Locke, notre connaissance des choses hors de nous a une « fiabilité effective », mais ce n'en est pas une connaissance parfaite, laquelle nous est inaccessible. Locke distinguishes : intuitive knowledge, rational knowledge, and sensitive (...) knowledge. It is through the latter that we reach the knowledge of « other things ». Now, one may wonder how can sense be both at the same time judge and witness. In fact, according to Locke, our knowledge of things outside ourselves bears some « effective reliability » but it is not necessarily a true knowledge, which is indeed unattainable. (shrink)

L'ergographe d'Angelo Mosso est caractérisé comme objectivation du travail musculaire par la méthode graphique, mais aussi comme indice d'une compréhension du corps comme machine, et comme élément d'un systéme où la connaissance doit déterminer l'usage de la force de travail. Les recherches qui sont issues de l'œuvre de Mosso sont analysées dans cet article comme une reconnaissance des exigences normatives du corps en action — menant à une appréciation nouvelle, en particulier, de la signification de la fatigue — et non (...) comme un projet d'assujettissement de l'homme au travail. Les difficultés propres aujourd'hui à toute mesure du travail soulignent rétrospectivement la portée critique du mouvement ergographique. Mosso's ergograph is defined as a tool which made a tracing of the mechanical work of the muscles available ; as a symptom of a mechanistic conception of the human body, but also as part of a system where knowledge has to determine the social use of labour power. Research going beyond Mosso's pioneering work is analyzed in this paper as an acknowledgement of the normative demands of the body in action — leading, in particular, to a reappraisal of the meaning of physical fatigue, rather than as an attempt to further enslave man to his work. In retrospect, the difficulties currently inherent to any attempt at work measurement underline the critical implications of ergography. (shrink)

Dans L'animal, l'homme, la fonction symbolique , Raymond Ruyer cherchait à caractériser la spécificité de l'homme à l'intérieur du monde biologique et il en distinguait trois traits constitutifs : le rôle modifié du cerveau, la transmission ou « hérédité » culturelle, la dimension symbolique du langage. Sa thèse était qu'il faut chercher dans le maniement des symboles ce qui rend possible les diverses manifestations de la culture, et qu'en vertu de cette origine commune, ces manifestations doivent être considérées comme indissociables. (...) Mais, il y a chez Ruyer, une troisième voie entre émergence et réduction. Il a, en ce qui concerne les symboles, une dette à l'égard de Cassirer et surtout de Susanne Langer. Enfin les acquis en éthologie cognitive et les recherches contemporaines sur l'évolution de la faculté du langage permettent d'apprécier avec quelque scepticisme la position de Ruyer. In Vanimal, Vhomme, la fonction symbolique , Raymond Ruyer tried to define the specificity of man within the biological world, distinguishing three characteristic features: the modified role of the brain, cultural transmission or "heredity", the symbolic dimension of language. He argued that one had to consider the manipulation of symbols as what makes possible the manifestations of culture, and that, because of their common origin, these manifestations should be held to be intricately linked. This paper focuses on the alternative to emergence and reduction that Ruyer intends to define, and elaborates, with respect to symbols, his debt towards Ernst Cassirer and, most notably, Susanne K. Langer. Finally, it provides a skeptical examination of Ruyer's position, drawing on the results of cognitive ethology and on contemporary research on the evolution of the linguistic faculty. (shrink)