Peter Abelard (1079–1142 ce) was the most wide‐ranging philosopher of the twelfth century. He quickly established himself as a leading teacher of logic in and near Paris shortly after 1100. After his affair with Heloise, and his subsequent castration, Abelard became a monk, but he returned to teaching in the Paris schools until 1140, when his work was condemned by a Church Council at Sens. His logical writings were based around discussion of the “Old Logic”: Porphyry's Isagoge, aristotle'S Categories and (...) On Interpretation and boethius'S textbook on topical inference. They comprise a freestanding Dialectica (“Logic”; probably c.1116), a set of commentaries (known as the Logica [Ingredientibus], c. 1119) and a later (c. 1125) commentary on the Isagoge (Logica Nostrorum Petititoni Sociorum or Glossulae). In a work Abelard called his Theologia, issued in three main versions (between 1120 and c.1134), he attempted a logical analysis of trinitarian relations and explored the philosophical problems surrounding God's claims to omnipotence and omniscience. The Collationes (“Debates,” also known as “Dialogue between a Christian, a Philosopher and a Jew”; probably c.1130) present a rational investigation into the nature of the highest good, in which the Christian and the Philosopher (who seems to be modeled on a philosopher of pagan antiquity) are remarkably in agreement. The unfinished Scito teipsum (“Know thyself,” also known as the “Ethics”; c.1138) analyses moral action. (shrink)

The COVID-19 pandemic prompted immense work on the investigation of the SARS-CoV-2 virus. Rapid, accurate, and consistent interpretation of generated data is thereby of fundamental concern. Ontologies––structured, controlled, vocabularies––are designed to support consistency of interpretation, and thereby to prevent the development of data silos. This paper describes how ontologies are serving this purpose in the COVID-19 research domain, by following principles of the Open Biological and Biomedical Ontology (OBO) Foundry and by reusing existing ontologies such as the Infectious Disease Ontology (...) (IDO) Core, which provides terminological content common to investigations of all infectious diseases. We report here on the development of an IDO extension, the Virus Infectious Disease Ontology (VIDO), a reference ontology covering viral infectious diseases. We motivate term and definition choices, showcase reuse of terms from existing OBO ontologies, illustrate how ontological decisions were motivated by relevant life science research, and connect VIDO to the Coronavirus Infectious Disease Ontology (CIDO). We next use terms from these ontologies to annotate selections from life science research on SARS-CoV-2, highlighting how ontologies employing a common upper-level vocabulary may be seamlessly interwoven. Finally, we outline future work, including bacteria and fungus infectious disease reference ontologies currently under development, then cite uses of VIDO and CIDO in host-pathogen data analytics, electronic health record annotation, and ontology conflict-resolution projects. (shrink)

The COVID-19 pandemic prompted immense work on the investigation of the SARS-CoV-2 virus. Ontologies – structured, controlled, vocabularies – are designed to support consistency of interpretation, and thereby to prevent the development of data silos. This paper describes how ontologies are serving this purpose in the virus research domain, following the principles of the Open Biological and Biomedical Ontology (OBO) Foundry and drawing on the resources of the Infectious Disease Ontology (IDO) Core. We report the development of the Virus Infectious (...) Disease Ontology (VIDO), a reference ontology extending IDO Core covering viral infectious diseases. We examine newly minted terms, showcase ontology term reuse, and illustrate the use of VIDO by annotating selections from recent life science research on SAR-CoV-2, in the interest of supporting machine learning projects. (shrink)

The Infectious Disease Ontology (IDO) is a suite of interoperable ontology modules that aims to provide coverage of all aspects of the infectious disease domain, including biomedical research, clinical care, and public health. IDO Core is designed to be a disease and pathogen neutral ontology, covering just those types of entities and relations that are relevant to infectious diseases generally. IDO Core is then extended by a collection of ontology modules focusing on specific diseases and pathogens. In this paper we (...) present applications of IDO Core within various areas of infectious disease research, together with an overview of all IDO extension ontologies and the methodology on the basis of which they are built. We also survey recent developments involving IDO, including the creation of IDO Virus; the Coronaviruses Infectious Disease Ontology (CIDO); and an extension of CIDO focused on COVID-19 (IDO-CovID-19).We also discuss how these ontologies might assist in information-driven efforts to deal with the ongoing COVID-19 pandemic, to accelerate data discovery in the early stages of future pandemics, and to promote reproducibility of infectious disease research. (shrink)

Lindsay Judson and Vassilis Karasmanis present a selection of philosophical papers by an outstanding international team of scholars, assessing the legacy and continuing relevance of Socrates's thought 2,400 years after his death. The topics of the papers include Socratic method; the notion of definition; Socrates's intellectualist conception of ethics; famous arguments in the Euthyphro and Crito; and aspects of the later portrayal and reception of Socrates as a philosophical and ethical exemplar, by Plato, the Sceptics, and in the early (...) Christian era. Contributors include Lesley Brown, David Charles, John Cooper, Michael Frede, Terence Irwin, Charles Kahn, Vassilis Karasmanis, Carlo Natali, Vasilis Politis, Dory Scaltsas, Gerhard Seel, and C. C. W. Taylor. (shrink)

With this issue we initiate the policy of expanding the scope of Tulane Studies in Philosophy to include, in addition to the work of members of the department, contributions from philosophers who have earned advanced degrees from Tulane and who are now teaching in other colleges and universities. The Editor THE LOGIC OF OUR LANGUAGE ROBERT L. ARRINGTON Wittgenstein wrote in the Tractatus that "logic is not a body of doctrine, but a mirror-image of the world. " 1 In line (...) with his suggestion that a proposition is a 'picture', Wittgenstein argued that propositions 'show' the logical structure of the real. He was insistent, however, that "the apparent logical form of a proposition need not be its real one. " 2 As a result of this we can misunderstand the structure of fact. Philosophical problems arise just when "the logic of our language is mis understood. " 3 It is common knowledge that much of this view of logic was rejected by Wittgenstein himself in the Philosophical Investi gations. There we are told that language has no ideal or sublime 4 logic which mirrors the structure of the extra-linguistic world. Consequently, inferences from the structure of language to the structure of that extra-linguistic world are invalid. Reality can be 'cut up' in any of a number of ways by language. Wittgenstein adopted a view of philosophy which would render that discipline a non-explanatory, non-critical study of the multiple ways in which language can be used. (shrink)

This book examines influential conceptions of sport and then analyses the interplay of challenging borderline cases with the standard definitions of sport. It is meant to inspire more thought and debate on just what sport is, how it relates to other activities and human endeavors, and what we can learn about ourselves by studying sport.

Pancreatitis is a complex, progressively destructive inflammatory disorder. Alcohol was long thought to be the primary causative agent, but genetic contributions have been of interest since the discovery that rare PRSS1, CFTR and SPINK1 variants were associated with pancreatitis risk. We now report two associations at genome-wide significance identified and replicated at PRSS1-PRSS2 and X-linked CLDN2 through a two-stage genome-wide study. The PRSS1 variant likely affects disease susceptibility by altering expression of the primary trypsinogen gene. The CLDN2 risk allele is (...) associated with atypical localization of claudin-2 in pancreatic acinar cells. The homozygous CLDN2 genotype confers the greatest risk, and its alleles interact with alcohol consumption to amplify risk. These results could partially explain the high frequency of alcohol-related pancreatitis in men. © 2012 Nature America, Inc. All rights reserved. (shrink)

The essays in this collection treat historical, literary, and philosophical topics related to Ayn Rand's Anthem, an anti-utopia fantasy set in the future. The first book-length study on Anthem, this collection covers subjects such as free will, political freedom, and the connection between freedom and individual thought and privacy.

BackgroundThe COVID-19 pandemic has had a significant impact on the health system worldwide. The organ and tissue donation and transplantation (OTDT) system is no exception and has had to face ethical challenges related to the pandemic, such as risks of infection and resource allocation. In this setting, many Canadian transplant programs halted their activities during the first wave of the pandemic.MethodTo inform future ethical guidelines related to the COVID-19 pandemic or other public health emergencies of international concern, we conducted a (...) literature review to summarize the ethical issues.ResultsThis literature review identified three categories of ethical challenges. The first one describes the general ethical issues and challenges reported by OTDT organizations and transplantation programs, such as risks of COVID-19 transmission and infection to transplant recipients and healthcare professionals during the transplant process, risk of patient waitlist mortality or further resource strain where transplant procedures have been delayed or halted, and resource allocation. The second category describes ethical challenges related to informed consent in the context of uncertainty and virtual consent. Finally, the third category describes ethical issues related to organ allocation, such as social considerations in selecting transplant candidates.ConclusionThis literature review highlights the salient ethical issues related to OTDT during the current COVID-19 pandemic. As medical and scientific knowledge about COVID-19 increases, the uncertainties related to this disease will decrease and the associated ethical issues will continue to evolve. (shrink)

It is often argued that a shared culture, or at least shared cultural references or practices, can help to foster peace and prevent war. This essay examines in detail and criticizes one such argument, made by Patrick Leigh Fermor, in the context of his discussing an incident during World War II, when he and a captured German general found a form of agreement, a ground for peace between them, in their both knowing Horace's ode I.9 by heart in Latin. By (...) way of introducing the sixth and final installment of the Common Knowledge symposium “Peace by Other Means,” this essay proposes that Leigh Fermor's narrative be understood in terms of commerce, rather than consensus. It concludes by examining Ezra Pound's use of the word commerce in his poem “A Pact” to define his relationship with his “detested” and “pig-headed” poetic “father,” Walt Whitman. (shrink)

The history of the dyestuffs industry during the period 1775–1860 is interesting for three reasons. In the first place it was in connection with the manufacture of synthetic dyestuffs, begun in 1856, that the industrial research laboratory and the organization scientist first unmistakably appeared in the last decades of the nineteenth century. Secondly, there are the enigmas of W. H. Perkin, the man who discovered and manufactured the first coal-tar colours, but who retired somewhat abruptly from the industry in 1874: (...) just after the synthesis of alizarine. Thirdly, the dyestuffs industry was in intimate association with the textile industries which had for a long time been subject to frequent radical scientific and technological innovation. Among the most important of these we may mention John Smeaton's classic paper of 1759 on the maximum work obtainable from a given fall of water: a problem important not only for the abstract science of mechanics, but also for the design of waterwheels—the main source of power for the early textile mills. (The waterwheel was not, during the eighteenth century, the epitome of the quaint and picturesque: it was in the van of scientific and technical progress.) Again, the textile industries were quick to employ the Watt rotative engine; previously a two cylinder Newcomen engine had been tried out. Bleaching powders, based on Scheele's discovery of chlorine and its properties, were rapidly adopted: in this context one cannot help contrasting the indifference of medical science to Davy's early suggestion of using nitrous oxide as an anaesthetic; or Faraday's comment in 1818 on the anaesthetic power of sulphuric ether. The textile industries saw, over this period, a rapid succession of new machines, the pace of invention being so hot that in 1832 Charles Babbage reported that machines became obsolete long before they wore out. A Salford cotton mill was the first industrial establishment to use gas lighting: James Thomson, calico printer, introduced gas lighting to the town of Clitheroe when he installed it in his works. And there were many other important technical and scientific innovations. It was to supply these industries, so well accustomed to change, that the synthetic coal-tar dyestuffs were introduced from 1856 onwards. It is interesting that, so far as we can see, the appearance of these synthetic dyestuffs was the last in the series of major innovations in the textiles and related industries: at least until recent times. (shrink)

The coming of bioethics to Singapore / W. Calvin Ho and Sylvia S.N. Lim -- The impact of the bioethics advisory committee on the research community in Singapore / Charmaine K.M. Chan and Edison T. Liu -- Engaging the public : the role of the media / Chang Ai-Lien and Judith Tan -- Confucian trust and the biomedical regulatory framework in Singapore / Anh Tuan Nuyen -- The clinician-researcher : a servant of two masters? / Alastair V. Campbell, Jacqueline Chin, (...) and Teck Chuan Voo -- The US model for oversight of human stem cell research / Lindsay Parham and Bernard Lo -- Genetics and stem cell research : models of international policy-making / Bartha Maria Knoppers, Emily Kirby and Rosario Isasi -- Public engagement and bioethics commissions / Thomas H. Murray and Ross S. White -- Norm-making on human-animal chimeras and hybrids in Singapore, the United Kingdom and the international domain / W. Calvin Ho and Martin Bobrow -- How will future bioethical issues engage Singapore? / John Elliott. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Lost Sutras of Jesus: Unlocking the Ancient Wisdom of the Xian Monks, and: The Buddha's Gospel: A Buddhist Interpretation of Jesus' WordsJohn D'Arcy MayThe Lost Sutras of Jesus: Unlocking the Ancient Wisdom of the Xian Monks. Edited by Ray Riegert and Thomas Moore. London: Souvenir Press, 2004. 140 + xi pp.The Buddha's Gospel: A Buddhist Interpretation of Jesus' Words. By Lindsay Falvey. Adelaide: Institute for International (...) Development, 2002. 108 pp.Since Roy C. Amore's Two Masters, One Message (1987) revived the hypothesis of Buddhist influence on Christian origins and Hans-Joachim Klimkeit's research established links between Nestorian Christianity, Gnostic Manichaeism, and Mahayana Buddhism in Central Asia, there is scope for further reflection on commonalities between the two traditions over and above the purely doctrinal and philosophical. The two books under review, though intended for a general readership, are indications that interest in these matters is very much alive.Riegert and Moore preface their selection of texts with the story of Bishop Aleben (A-lo-pen), who travelled the Silk Road from Persia and was received with honour at the imperial capital of Xian (Chang-an) at the beginning of the Tang dynasty (635 CE). The emperor Taizong was sympathetic to what he called the "Luminous Religion," a Nestorian version of Christianity, possibly in Syriac, as presented by Aleben. It seems that these teachings were translated into Chinese in the form of sutras. One of them, preserved in stone as the Monument Sutra, features the cross rising from the lotus, the symbol chosen by Karl Reichelt for Tao-fung Shan, his Christian center in Buddhist style at Sha-tin outside Hong Kong, many centuries later. Thousands of Buddhist texts were preserved in the library cave at Dunhuang monastery, about one thousand miles west of Xian, where they were rediscovered by the Taoist priest Wang Yuanlu, who arrived there in the 1890s and became the self-appointed guardian of the scrolls.Included in this treasure trove were the Jesus Sutras, which are now scattered in museums and private collections, largely inaccessible to the public. But if the selection published here in a very elegant translation is anything to go by, they are [End Page 190] extremely significant religious documents with a spiritual value all their own. For the uninitiated, there is no way of checking the authenticity of these translations. The commentaries that accompany them could be slightly tendentious in that they nudge us in the direction of the editors' particular holistic worldview. But the texts themselves have a beauty and integrity that speaks for itself. They represent a Higher Dharma of perfect purity (p. 86), which, like a mirror, reflects the world with no trace of self: no desire, no action, no virtue, no truth (pp. 80–83, 126–129). The Jesus story is retold, and Jesus is portrayed as the teacher of this Higher Path. The sutras speak of One Spirit who is self-created, One God who is creator of the world, and One Lord, the Messiah who will return. There are prayers, too: "O Loving Father, Enlightened Son, Holy Spirit King"; "Lamb of Love and Bliss"; "O Holy Sage, Universal Lord, Messiah" (pp. 110–113). The texts obviously bear witness to a Buddhist-Christian dialogue much earlier and at a far deeper level than many would have thought possible. Whether they represent the religion of the future, as the editors suggest, remains to be seen.Lindsay Falvey's project of interpreting the canonical texts of Buddhism and Christianity in reference to one another has a similar orientation. In the course of agricultural development work in Thailand he came to realize "that the striking similarity between the two teachers may well be a seamless cloak of congruence beneath the mantle of culture and lore" (p. 13); the texts, in other words, may be quite literally translatable into one another's terms. Though aware that Q, the collection of Jesus' sayings that is supposed to have been available to the synoptic evangelists, is a hypothetical reconstruction, he still feels able to use a version of it as a basis for his experiment. He prefaces this with what he calls "A... (shrink)

People often remember what they attend to in the world. Such memory can be cast as a kind of mental catalog or index of attended objects. To investigate how such an index is acquired and used, protocol data were collected from a programmer who scrolled to off‐screen objects from time to time as she worked. These protocol data were modeled using Soar, which constrains how the index is constructed. In the model, an index entry is an episodic trace encoded during (...) attention. The trace associates the attention event with a time symbol denoting the event's occurrence. Later, the model can ask itself whether it saw that object by calling to mind an image of the attention event. If this image retrieves a time symbol, then the model infers that the object exists and can reason about bringing the object back into view. Episodic indexing is a theory of these encoding and retrieval processes. It posits that information about attention events is encoded automatically, but that retrieval requires effort and knowledge. Episodic indexing is congruent with a range of results on episodic and temporal codes and recognition and recall processes. It incorporates source monitoring (Johnson, Hashtroudi, & Lindsay, 1993) and is a simple and pervasive form of long‐term working memory (Ericsson & Kintsch, 1995). (shrink)

This is the review of a book by Paula Byrne on Lord Mansfield's great-niece, Dido, whom he raised as his own daughter. Lord Mansfield was the Lord Chief Justice of England in the Eighteenth Century. The child was brought to him as an infant and grew up to become what we would today term his paralegal clerk in his Library at Kenwood House. His great-niece was the child of a black slave and his sister's son, Sir John Lindsay. (...) This is also a narrative of the British Slave trade including some of Lord Mansfield's judgements at the King's Bench Division, Royal Courts of Justice. (shrink)

David Lindsay Roberts. Republic of Numbers: Unexpected Stories of Mathematical Americans through History. ix + 244 pp., bibl., index. Baltimore: Johns Hopkins University Press, 2019. $29.95 (cloth); ISBN 9781421433080. E-book available. Julian Havil. Curves for the Mathematically Curious: An Anthology of the Unpredictable, Historical, Beautiful, and Romantic. xx + 259 pp., apps., refs., index. Princeton, N.J./Oxford: Princeton University Press, 2019. $29.95 (cloth); ISBN 9780691180052. E-book available. David S. Richeson. Tales of Impossibility: The Two-Thousand-Year Quest to Solve the Mathematical Problems (...) of Antiquity. xii + 436 pp., notes, refs., index. Princeton, N.J./Oxford: Princeton University Press, 2019. $29.95 (cloth); ISBN 9780691192963. E-book availabl. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

This article first builds upon precedent work--including that of John M. Werner, Kerry S. Walters, and James Dye-to articulate a more complete understanding of David Hume's influence upon North American colonial and early U.S. thought. Secondly, through a comparison with arguments concerning miracles developed by early American deists Elihu Palmer, Ethan Allen, and Thomas Paine, the article clarifies and evaluates Hume's arguments against the rationality of belief in miracles. It judges Hume's arguments to be superior. Thirdly, the article uses (...) this comparison and evaluation to describe the nature of Humean skepticism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesMarilyn Minter[End Page 1] Click for larger view View full resolutionCoral Ridge Towers (Mom Smoking Extra Long), 1969Black-and-white photographCourtesy of Salon 94, New York[End Page 15] Click for larger view View full resolutionCoral Ridge Towers (Mom in Bed), 1969Black-and-white photographCourtesy of Salon 94, New York[End Page 30] Click for larger view View full resolutionCoral Ridge Towers (Mom Dyeing Eyebrows), 1969Black-and-white photographCourtesy of Salon 94, New York[End Page 43] Click (...) for larger view View full resolutionCoral Ridge Towers (Mom in Mirror), 1969Black-and-white photographCourtesy of Salon 94, New York[End Page 58] Click for larger view View full resolutionCoral Ridge Towers (Mom Making Up), 1969Black-and-white photographCourtesy of Salon 94, New York[End Page 71] Click for larger view View full resolutionCoral Ridge Towers (Mom Smoking), 1969Black-and-white photographCourtesy of Salon 94, New YorkCopyright © 2007 The Johns Hopkins University Press... (shrink)

In this paper, we examine Sextus Empiricus' treatise Against the geometers . We first set this treatise in the overall context of the sceptic's polemics against the liberal arts. After a discussion of Sextus' attitude to the quadrivium , we discuss the structure, the sources and the target of the Against the geometers . It appears that Euclid is not Sextus' source, and neither he, nor the professional geometers, seem to be Sextus' main targets. Of course, Sextus never really makes (...) clear his precise target, but his attacks are rather directed against geometry as a means of modelling the physical world, thus ruining the support geometry was intended to bring to the physical part of dogmatic philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Demea's Departure James Dye Although Demea's departure atthe end ofpart 11 is one ofthe dramatic highlights ofthe Dialogues,1 it has prompted little comment. That is a pity, since it is a striking departure from Hume's Ciceronian model in De natura deorum, and the motivation for the change is far from clear. What is clear is that to this point Philo and Demea have been informal allies. The conclusions ofPhilo's (...) sceptical arguments have dovetailed nicely with Demea's negative theology—an alliance, as it were, between reason aware of its own failure and faith which accepts the invincible mysteriousness of the divine. Both distrust reason's competence to attain knowledge of God. After Demea's departure, Cleanthes and Philo seem to embark on a more conciliatory relationship for which the preceding parts have so ill-prepared the reader that Philo's "reversal" or "confession" in part 12 has become a standard exegetical problem in the literature. If Demea must go to facilitate the reconciliation ofPhilo and Cleanthes, what motivates his exit now? The usual view takes the departure to be motivated by Demea's unhappiness with Philo's disquisition on evil. This is so vague as to be useless, especially since through most of part 10 Demea eagerly co-operates with Philoin describinglife in terms which make thereaUty of evil all the more compelling. If the dialogue is psychologically coherent, the subsequent conversation must introduce something else tomotivate Demea's departure. Whatis ofsuch significance that Hume chooses to punctuate it with the dramatic flourish of Demea's exit? It does have much to do, I think, with something Philo says, but not about "the problem ofevil" as that is usually construed. It has something to do with the problem of evil, but more with the implications of what Philo says than with his explicit claims. It will be necessary, however, to setthese factorsin theircontext; andfor that purpose,let's startwith part 9. Part 9 Many have located the beginnings ofa Demea-Philo rupture in part 9, not in Demea's perception ofPhilo, but in Philo's willingness to attack Demea. Specifically, Philo has commonly been taken to approve Cleanthes'criticisms ofDemea's argument and to add his own to them. The temptation to interpret Philo as endorsing Cleanthes' criticisms is particularly strong because those criticisms seem to echo Volume XVIII Number 2 467 JAMESDYE characteristically Humean positions. However, in this context, as criticisms ofDemea's argument, they are question-begging and, in fact, backfire on Cleanthes.2 Moreover, Philo does not say that he accepts Cleanthes'arguments. (Heisperhaps astonished that Cleanthes, inhis eagerness to attack any view which smacks of "old-fashioned" a priorism, can forcefully espouse views which undercut his own position.)3 His first remarks after Cleanthes' exceptionally spirited attack on Demea strongly resemble his remarks in part 2 following Demea's equally spirited initial objection (appealing to tradition and authority) to Cleanthes' argument.4 Both responses are playfully ironic, and we should no more presume that Philo endorses Cleanthes' argumentation in part 9 than we should assume him to endorse Demea's in part 2. Nor are Philo's own contributions to part 9 such as to give affront to Demea. He pointedly classifies the first ofthe two points he makes as "upon another topic" (D 191). Then he invokes as an example the fact that adding the digits ofany product of9 always yields either 9 or some lesser product of 9. The point of the example is that this fact, which initially seems marvellous and inexplicable, ceases to astonish one who understands mathematics sufficiently well to see that it is arithmetically necessary that the products of 9 have this property. Philo claims that it is probable that the similarly astonishing order of the universe may in like manner be determined by some intrinsic necessity in matter, which would seem equally unremarkable to us had we far more thorough knowledge of the nature of matter than we currently possess. The crux ofPhilo's argument is that ifa remarkable regularity or orderfound in certain numbers is numerically necessary, itrequires no further explanation; similarly, ifa remarkable regularity or order in nature is necessary, it does... (shrink)

A central goal of typological research is to characterize linguistic features in terms of both their functional role and their fit to social and cognitive systems. One long-standing puzzle concerns why certain languages employ grammatical gender. In an information theoretic analysis of German noun classification, Dye, Milin, Futrell, and Ramscar enumerated a number of important processing advantages gender confers. Yet this raises a further puzzle: If gender systems are so beneficial to processing, what does this mean for languages that make (...) do without them? Here, we compare the communicative function of gender marking in German to that of prenominal adjectives in English, finding that despite their differences, both systems act to efficiently smooth information over discourse, making nouns more equally predictable in context. We examine why evolutionary pressures may favor one system over another and discuss the implications for compositional accounts of meaning and Gricean principles of communication. (shrink)

It was the general practice until not at all long ago to look at Turner as one of the moderns, if not as one of the founding fathers of modern art. He was a man straddling the fence between two periods, but he was looking forward. In a history of art that marches through time, forever endorsing what is about to be forgotten, wrapping up, as it were, one style to open eagerly the package of the next, such a position (...) is most enviable for, no matter where the times may be going, it is a hallmark of greatness to be ahead of one's time. There were things to be explained, of course, Turner himself, a keen pessimist, did not approved of the future and had little use for the present.1 His love of art was schooled on Reynolds' Discourses, and he remained loyal to them; his poets were Thomson and Pope and, among contemporaries, the rather frigid but delicate Samuel Rogers, a classicist par excellence. Above all, however, Turner looked back to classical antiquity for training and guidance, and for the delectation of his heart. And the poetry of the ancients, such as he could obtain it in translation, was as important to him as their art. What does one do with a declared classicist whom a historicizing hindsight feels compelled to rescue as a man of the future by making him a Romantic? It is a challenge stylistic analysis likes to meet, for it goes beneath what it declares to be the surface of a work of art to find its style, the essence that must conform to the presumed spirit of the age in question. The triumphant result of such studies in depth is a forgone conclusion as much as it is a surprise to the uninitiated. The facade of the Louvre, for example, used to suffice to make it a building in the classical style; it took the acumen of a Wölfflin to prove that it really was "baroque." The more the artist struggled not to be of his time, the more, poor man, he betrayed to the analyst that he was of his time. The Louvre facade stands convicted of being "classicizing-baroque."2 · 1. On Turner's view of the modern art of his time see John Gage, Color in Turner: Poetry and Truth , pp.97-105. On his literary education and taste see the seminal essay by Jerrold Ziff, "Turner on Poetry and Painting, " Studies in Romanticism 3 no. 4 : 193-215. Turner's poetical writings have been edited by Jack Lindsay, The Sunset Ship: The Poems of J.M.W. Turner . For the most recent and also most elegantly practical introduction to the work and life of Turner, see the catalogue of the Turner Exhibition of the Royal Academy and the Tate Gallery, Turner, 1775-1851 . · 2. This is now a commonplace of art historical teaching. See, for example, Gardner’s Art Through the Ages, 6th ed. Horst de la Croix and Richard G. Tansey , p. 632. On the theory behind the application to the particular case, see Heinrich Wölfflin, Principles of Art History, trans. M. D. Hottinger . Philipp Fehl, artist and art historian, is currently preparing a collection of essays, Art and Morality: Studies in the History of the Classical Tradition. He is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. "Farewell to Jokes: The Last Capricci of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting" was published in Summer 1979 in Critical Inquiry. (shrink)

In the pages that follow I looked closely at two major paintings by Gustave Courbet : the After Dinner at Ornans, perhaps begun in the small town of the title but certainly completed in Paris during the winter of 1848-49; and the Stonebreakers, painted wholly in Ornans just under a year later. The After Dinner and the Stonebreakers are the first in a series of large multifigure compositions--others are the Burial at Ornans and the Peasants of Flagey Returning from the (...) Fair —that mark not only Courbet's maturity as an artist but his emergence as a disruptive force, almost a one-man wrecking crew, in the cultural politics of his time. They are also those works in which his self-declared identity as a Realist first becomes manifest, and probably the chief concern of the most interesting recent scholarship on Courbet has been to try to decode that epithet in social-historical terms, or at any rate to situate his activity as a painter during the years 1848-55 in the context of the social and political struggles that accompanied the creation of the Second Republic and its subversion by Louis Bonaparte.2 At the core of that tradition, motivating and, as it were, mobilizing it, is the demand that the painter succeed in placing in abeyance the primordial convention that paintings are made to be beheld—that he contrive in one way or another to establish the fiction, the meta-illusion, that the beholder does not exist, that there is no one standing before the picture. From Greuze through Gèricault, this was chiefly to be accomplished in and through the medium of visual drama, that is, by representing figures so deeply absorbed in their actions, emotions, and states of mind and furthermore so efficaciously bound together in a single comprehensive dramatic situation that they would strike one as absolutely immured in the world of the painting and a fortiori as oblivious to the very possibility of being viewed. And one way of describing the crisis that I believe overtook French painting by the 1820s and '30s is to say that the dramatic as such came more and more to be revealed as inescapably theatrical—that the array of conventions that once had served to establish the meta-illusion of the beholder's nonexistence now seemed merely to attest to his controlling presence.1. The present essay is adapted from a book-length study, in progress, of Courbet's art. Recent books and articles emphasizing social and political considerations include Linda Nochlin, Gustave Courbet: A Study of Style and Society ; T.J. Clark, "A Bourgeois Dance of Death: Max Buchon on Courbet," Burlington Magazine 111 : 208-12, 282-89, and Image of the People: Gustave Courbet and the Second French Republic, 1848-51 ; Jack LIndsay, Gustave Courbet: His Life and Art ; Klaus Herding, ed., Realismus als Widerspruch: Die Wirklichkeit in Courbets Malerei ; Herding, "Les Lutteurs 'détestables': Critique de style, critique sociale," Histoire et critique de l'art 4-5 : 94-122; and James Henry Rubin, Realism and Social Vision in Courbet and Proudhon .2. For an account of the early evolution of that tradition, see my Absorption and Theatricality: Painting and Beholder in the Age of Diderot , as well as the essays on Courbet cited in n. 3.Michael Fried, professor of humanities and the history of art at the Johns Hopkins University, is the author of Morris Louis and Absorption and Theatricality: Painting and Beholder in the Age of Diderot. He is currently at work on a book on Courbet. (shrink)