The effect of recent experience on current behavior has been studied extensively in simple laboratory tasks. We explore the nature of sequential effects in the more naturalistic setting of automobile driving. Driving is a safety-critical task in which delayed response times may have severe consequences. Using a realistic driving simulator, we find significant sequential effects in pedal-press response times that depend on the history of recent stimuli and responses. Response times are slowed up to 100 ms in particular cases, a (...) delay that has dangerous practical consequences. Further, we observe a significant number of history-related pedal misapplications, which have recently been noted as a cause for concern in the automotive safety community. By anticipating these consequences of sequential context, driver assistance systems could mitigate the effects of performance degradations and thus critically improve driver safety. (shrink)

The paper intends to objectively review the ecological understanding of Upaniṣhadic ṛṣis. Since ecology is a modern notion, it is required to precisely place it within the Upaniṣhadic thought. For that purpose, a possible ontological structure of Upaniṣhadic philosophy is sorted in which the discussion of ecology becomes meaningful. Upaniṣhadic ṛṣis conceived ecology as a part of their metaphysics, that is, one which is assisted by the devatas. There is a dependent coexistence between Devatas, Humans and the world. This feature (...) of Upaniṣhadic philosophy should not be treated as a declaration for environmental conservation. It is rather seen as a theory of consumption and calibration from both sides. Although ecology is integrated into the Upaniṣhadic metaphysics, it is not one of the subject matters of Upaniṣhads. An understanding of ecology traceable from Upaniṣhads is supplementary to Upaniṣhadic theory of Devatas. Thus, the author concludes that the Upaniṣhadic ecology is metaphysical rather than natural. (shrink)

We extend some of the classical connections between automata and logic due to Büchi [5] and McNaughton and Papert [12] to languages of finitely varying functions or “signals”. In particular, we introduce a natural class of automata for generating finitely varying functions called ’s, and show that it coincides in terms of language definability with a natural monadic second-order logic interpreted over finitely varying functions Rabinovich [15]. We also identify a “counter-free” subclass of ’s which characterise the first-order definable languages (...) of finitely varying functions. Our proofs mainly factor through the classical results for word languages. These results have applications in automata characterisations for continuously interpreted real-time logics like Metric Temporal Logic Chevalier et al. [6] and [7]. (shrink)

_Despite advances in standard of living of the population, the condition of widows and divorced women remains deplorable in society. The situation is worse in developing nations with their unique social, cultural and economic milieu, which at times ignores the basic human rights of this vulnerable section of society. A gap exists in life expectancies of men and women in both developing and developed nations. This, coupled with greater remarriage rates in men, ensures that the number of widows continues to (...) exceed that of widowers. Moreover, with women becoming more educated, economically independent and aware of their rights, divorce rates are increasing along with associated psychological ramifications. The fact that widowed/divorced women suffer from varying psychological stressors is often ignored. It has been concluded in various studies that such stressors could be harbingers of psychiatric illnesses (e.g., depression, anxiety, substance dependence), and hence should be taken into account by treating physicians, social workers and others who come to the aid of such women. A change in mindset of the society is required before these women get their rightful place, for which a strong will is needed in the minds of the people, and in law-governing bodies._. (shrink)

Over the past fifteen years there has been a considerable amount of debate concerning what theoretical population dynamic models tell us about the nature of natural selection and drift. On the causal interpretation, these models describe the causes of population change. On the statistical interpretation, the models of population dynamics models specify statistical parameters that explain, predict, and quantify changes in population structure, without identifying the causes of those changes. Selection and drift are part of a statistical description of population (...) change; they are not discrete, apportionable causes. Our objective here is to provide a definitive statement of the statistical position, so as to allay some confusions in the current literature. We outline four commitments that are central to statisticalism. They are: 1. Natural Selection is a higher order effect; 2. Trait fitness is primitive; 3. Modern Synthesis (MS)-models are substrate neutral; 4. MS-selection and drift are model-relative. (shrink)

The drive towards clean technology in the chemical industry with an increasing emphasis on the reduction of waste at source requires a level of innovation and new technology that the chemical industry is beginning to adopt. The green chemistry revolution provides an enormous number of opportunities to discover and apply new synthetic approaches using alternative feedstocks; ecofriendly reaction conditions, energy minimizations and the design of less toxic and inherently safer chemicals. In this review exciting opportunities and some successful examples of (...) green chemistry in practice are described. While developments in the 20th century have brought various social and economic benefits to the people but these changes have also caused a range of environmental problems at both local and global levels. Over recent years, sustainable development has been accepted by government, industry and the public as a necessary goal for achieving social, economic and environmental objectives. Within this, green chemistry plays a key role in maintaining and improving quality of our life and preserving natural environments. The term ‘ Green Chemistry’ was first coined by the US Environmental Protection Agency in the early 1990s and major interest in green chemistry in the US began in earnest with the passage of the ‘Pollution Prevention Act’ of 1990. Thus Green Chemistry becoming a formal focus of the EPA in 1991. (shrink)

Environmental ethicists have frequently criticized ancient Greek philosophy as anti-environmental for a view of philosophy that is counterproductive to environmental ethics and a view of the world that puts nature at the disposal of people. This provocative collection of original essays reexamines the views of nature and ecology found in the thought of Plato, Aristotle, the Stoics, and Plotinus. Recognizing that these thinkers were not confronted with the environmental degradation that threatens contemporary philosophers, the contributors to this book find that (...) the Greeks nevertheless provide an excellent foundation for a sound theory of environmentalism. (shrink)

Background Payment of research participants helps to increase recruitment for research studies, but can pose ethical dilemmas. Research ethics committees (RECs) have a centrally important role in guiding this practice, but standardisation of the ethical approval process in Ireland is lacking. Aim Our aim was to examine REC policies, experiences and concerns with respect to the payment of participants in research projects in Ireland. Method Postal survey of all RECs in Ireland. Results Response rate was 62.5% (n=50). 80% of RECs (...) reported not to have any established policy on the payment of research subjects while 20% had refused ethics approval to studies because the investigators proposed to pay research participants. The most commonly cited concerns were the potential for inducement and undermining of voluntary consent. Conclusions There is considerable variability among RECs on the payment of research participants and a lack of clear consensus guidelines on the subject. The development of standardised guidelines on the payment of research subjects may enhance recruitment of research participants. (shrink)

Buildings are constructed for accommodating living and industrial needs. Floor cleaning robots have been developed to cater to the demand of these buildings. Area coverage and coverage time are crucial performance factors of a floor cleaning robot. Reconfigurable tiling robots have been introduced over fixed shape robots to improve area coverage in floor cleaning applications compared to robots with fixed morphologies. However, area coverage and coverage time of a tiling robot compromised one another. This study proposes a novel concept that (...) considers the ability of a tiling robot to configure both its morphology and size according to the environment. This concept is inspired by the pleomorphism that could be seen in bacteria. In this regard, P-hTetro, a pleomorphic tiling robot that can reconfigure its morphology and size, is considered. A novel coverage strategy for realizing the size reconfiguration is also proposed. According to this strategy, the robot covers obstacle-free areas with its maximum size, while an obstacle cluster is covered after shrinking to an optimum size. The optimum size for reconfiguration is determined by the genetic algorithm based on the arrangement of the environment. The performance and behavior of the proposed P-hTetro have been compared against that of an existing tiling robot which has a fixed size. According to the statistical outcomes, a tiling robot with the ability to reconfigure its size can significantly improve the performance in the aspects of area coverage and coverage time compared to a tiling robot with no ability to reconfigure its size. (shrink)

Issued with Sandal, M. L. Introduction to the Mimamsa sutras of Jaimini. New York, [1979].

Philosophers and scientists have long speculated about the nature of color. Atomists such as Democritus thought color to be "conventional," not real; Galileo and other key figures of the Scientific Revolution thought that it was an erroneous projection of our own sensations onto external objects. More recently, philosophers have enriched the debate about color by aligning the most advanced color science with the most sophisticated methods of analytical philosophy. In this volume, leading scientists and philosophers examine new problems with new (...) analytic tools, considering such topics as the psychophysical measurement of color and its implications, the nature of color experience in both normal color-perceivers and the color blind, and questions that arise from what we now know about the neural processing of color information, color consciousness, and color language. Taken together, these papers point toward a complete restructuring of current orthodoxy concerning color experience and how it relates to objective reality. Kuehni, Jameson, Mausfeld, and Niederee discuss how the traditional framework of a three-dimensional color space and basic color terms is far too simple to capture the complexities of color experience. Clark and MacLeod discuss the difficulties of a materialist account of color experience. Churchland, Cohen, Matthen, and Westphal offer competing accounts of color ontology. Finally, Broackes and Byrne and Hilbert discuss the phenomenology of color blindness. Contributors: Justin Broackes, Alex Byrne, Paul M. Churchland, Austen Clark, Jonathan Cohen, David R. Hilbert, Kimberly A. Jameson, Rolf Kuehni, Don I.A. MacLeod, Mohan Matthen, Rainer Mausfeld, Richard Niederée, Jonathan Westphal The hardcover edition does not include a dust jacket. (shrink)

Philosophy of perception has recently become one of the most important and most central sub-fields of philosophical research. The aim of this volume is to give a representative sample of the new approaches in philosophy of perception that are responsible for this explosion of philosophical interest. Perceiving the World contains eleven original essays, written specially for this book by some of the leading contemporary philosophers of perception: Jonathan Cohen, JTr(me Dokic, Fred Dretske, Andy Egan, Benj Hellie, Sean D. Kelly, M.G.F. (...) Martin, Mohan Matthen, Adam Pautz, Jesse J. Prinz, and Susanna Siegel." "Bence Nanay is BOF Research Professor of Philosophy at the University of Antwerp and Senior Research Associate at Peterhouse, University of Cambridge. He received his PhD at the University of California, Berkeley, in 2006. He has published articles in various journals on philosophy of mind, philosophy of biology, and aesthetics."--BOOK JACKET. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 108-112 [Access article in PDF] Themes in the Philosophy of Music, by Stephen Davies. New York: Oxford University Press, 2003, 283 pp., hardcover. Over the last few decades, there has been a remarkable output of several books and articles on the philosophy of music. Stephen Davies is one of the leading contributors to this growing literature in the Philosophy of Music. This (...) important and thought-provoking volume collects fifteen of Davies's essays on various philosophical issues pertaining to music such as ontology, performance, expression, and appreciation. With the exception of two, all of the essays have been published before. There is not enough space here to do justice to all fifteen essays, and thus I focus on those that strike me as most important and where I disagree with Davies.First a word about the book's relevance to aesthetic education and itspotential for use in aesthetic education. Davies's book strikes me as having immense potential for aesthetic education. I can easily see the various essays as being of great value in educating performers, composers, musicologists, and music lovers about various aspects of performance and appreciation especially. Here is a brief list of questions pertinent to aesthetic education that Davies's work raises and addresses: Why is performance on authentic instruments important? What is involved in understanding musical works? Is technical training necessary to appreciate musical works fully? To what degree can the performer create her own interpretation of a work, and how much does the score constrain her?Now on to the essays themselves. The first part of Davies's volume concerns ontology, and the first essay "John Cage's 4'33": Is it Music?" addresses this very famous musical work. Davies argues that 4'33" is not music but rather a theatrical piece about music because it does not exclude anysounds as being ambient noise, as Davies thinks musical works should do. Davies does not deny, however, that this work is an artwork. He thinks instead that the work is not organized sound, as all music must be, for it does not exclude any sonic events during performance as ambient; even sounds made by the performer of this work, claims Davies, are mistakes and not ambient. Thus neither Cage nor the performer organize (select, appropriate) sounds. Davies also suggests that while Cage wants us to have an aesthetic interest in the sonic properties of 4'33," he failed in his intention for we hear the work instead in musico-historical terms.Contrary to Davies's view, one mustwonder if 4'33" just is a theatrical piece about music, not a musical work as such. Unlike theater and theatrical works which are meant to be both seen and heard, Cage's work is only meant to be heard. Davies's view would seem to neglect this important auditory aspect in claiming that the work is just theater not music. Besides, why must all musical works exclude some soundsas ambient, and why might Cage's [End Page 108] work not be an exception to this? Why couldn't 4'33" be a limiting case of music, at one extreme of a range of musical works? As for Davies's claim that any sounds made by the performer who is supposed to be silent are mistakes not ambient noise, one must wonder if Cage intended instead that sounds made by the performer (such as musical tones or coughs) be bracketed by listeners as not part of the work while sounds made by the audience are part of the work, thus undermining the audience-performer distinction. Moreover, against Davies's claim that Cage intended us to have an aesthetic interest in sonic properties, I submit that Cage was Zen-influenced and not committed to such dualisticaesthetic concepts (such as beautiful vs. ugly) or any concepts for that matter, whether musico-historical or not. Instead, Cage intended us to simplylisten, with an open mind and openears, without adhering rigidly to concepts or hearing 4'33" in musico-historical terms, difficult as that may be. Finally, there... (shrink)

This study used a laboratory experiment with monetary incentives to test the impact of three personal factors (moral reasoning, value orientation and risk preference), and three situational factors (the presence/absence of audits, tax inequity, and peer reporting behavior), while controlling for the impact of other demographic characteristics, on tax compliance. Analysis of Covariance (ANCOVA) reveals that all the main effects analyzed are statistically significant and robustly influence tax compliance behavior. These results highlight the importance of obtaining a proper understanding of (...) these factors for developing effective policies for increasing the level of compliance, and indicate that standard enforcement polices based on punishment alone should be supplemented by an information system that would acquaint tax payers with the compliance level of other tax payers; reinforce the concept of fairness of the tax system among tax payers; and develop programs that enhance and appeal to a taxpayer's moral conscience and reinforce social cohesion. (shrink)

I criticize Julian Dodd's Platonist conception of musical works as discovered eternal types, and defend and elaborate upon Jerrold Levinson's conception of musical works as creatable indicated types. I raise broadly three sorts of worries for Dodd. First, I argue that Dodd conflates types with Platonist universals in claiming that types are eternal and discovered. Secondly, I raise worries for Dodd's Platonist claim that musical works are discovered not created. Here I argue that Dodd's claim goes against our current musical (...) practice. I then argue that Dodd's view leads to a false divide across the arts, and defend this claim from Dodd's criticisms. I also defend the claim that Dodd's view robs artists of the special status we give to them as creators, not merely creative discoverers. I suggest also that musical works can not only be created but can also plausibly cease to exist, which Dodd's Platonism would seem to deny. Thirdly and finally, I defend the conception of musical works as indicated types from Dodd's criticisms. Here I argue that Dodd's view is ontologically profligate. I also submit that Dodd is mistaken in thinking that indicated types have times as their constituents and thus must be events. (shrink)

Over the last several years, there has been a growing controversy about whether Yogacara Buddhism can be said to be idealist in some sense, as used to be commonly thought by earlier scholars. In this paper, I first clarify the different senses of idealism that might be pertinent to the debate. I then focus on some of the works of Vasubandhu, limiting myself to his Vimsatika, Trimsika, and Trisvabhavanirdesa. I argue that classical Yogacara Buddhism, at least as found in these (...) works of Vasubandhu, is closer to epistemic rather than metaphysical idealism or absolute idealism, as I understand these. However, there are undoubtedly some important differences between Vasubandhu's Yogacara and Western epistemic idealism that cast doubt on the idea that Yogacara is simply to be lumped together with Western epistemic idealism. (shrink)

Articulates an imaginationist solution to the question of how purely instrumental music can be perceived by a listener as having emotional content. Both musicians and laypersons can perceive purely instrumental music without words or an associated story or program as expressing emotions such as happiness and sadness. But how? In this book, Saam Trivedi discusses and critiques the leading philosophical approaches to this question, including formalism, metaphorism, expression theories, arousalism, resemblance theories, and persona theories. Finding these to be inadequate, (...) he advocates an “imaginationist” solution, by which absolute music is not really or literally sad but is only imagined to be so in a variety of ways. In particular, he argues that we as listeners animate the music ourselves, imaginatively projecting life and mental states onto it. Bolstering his argument with empirical data from studies in neuroscience, psychology, and cognitive science, Trivedi also addresses and explores larger philosophical questions such as the nature of emotions, metaphors, and imagination. Saam Trivedi is Associate Professor of Philosophy at Brooklyn College, City University of New York. (shrink)

In this article, I assume that musical works are abstract types, and I raise and address a new question concerning musical ontology that may take the types view at least a step further: When do musical works cease to exist? I then propound my view about musical works as types, which is somewhat like the Aristotelian Realist position concerning universals. Next, I address some objections to that view. Finally, I provide some grounds for rejecting alternative views that see Western classical (...) musical works before 1950 (the sorts of musical works the discussion here is restricted to) either as classes or else as kinds. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 38-52 [Access article in PDF] Artist-Audience Communication: Tolstoy Reclaimed Saam Trivedi Whoever is really conversant with art recognizes in [Tolstoy's What is Art?] the voice of the master.1There has to be some presumption that, as one of the greatest artists who ever lived, Tolstoy might actually have known what he was talking about.2It is widely accepted in contemporary Anglo-American aesthetics that, (...) despite Tolstoy's own literary achievements, his "moralism" about art is a view without much merit. For the most part, I concur with this current consensus about Tolstoy. However, despite the many flaws in his view, I think Tolstoy was on to something, after all. In particular, I believe a concept of artist-audience communication similar to what Tolstoy had in mind can be fleshed out so as to avoid the problems that Tolstoy ran into, while reclaiming the insights in his view.3In what follows, I begin by suggesting briefly that recognizing a quasi-Tolstoyan concept of artist-audience communication may have important implications for how we should approach artworks, and thus also for aesthetic education. Next, I spell out this concept. I then offer trenchant criticisms of Tolstoy's view. Finally, I point out affinities between Tolstoy's concept and mine, while also distinguishing my concept of artist-audience communication from Tolstoy's concept of artistic communication. It will emerge, I hope, that while I disagree more than agree with Tolstoy, the issues where I agree with him may be more significant. Artist-Audience Communication I begin by discussing briefly how talk of a quasi-Tolstoyan artist-audience communication bears relevance for how we should approach artworks, and thus has relevance for aesthetic education. If I am right, then in approaching [End Page 38] and experiencing artworks, we should seek a correct experiential understanding of them that is shared between the artist and audience, and between ourselves and other members of the audience. This does not meanthat we seek what the artist did intend in creating the artwork, as actual intentionalism would have us do. Rather, as members of a competent audience, we should first analyze what a given artwork means by attending to the work itself.4 This includes the broad art-historical context of production (including the period, style, category, or genre of the work; the artist's public persona; the oeuvre of the artist; works by the artist's contemporaries; the social, cultural, and political milieu of the artist; and so on) and the public conventions that apply to it. In cases of irony, satire, and allusion, we may also need to broaden the context and appeal to artistic intentions. Then we should attribute this "work-meaning" to the historical artist as part of what she or he could have intended, so long as this was historically possible. If this historically possible work-meaning coincides with what she or he did intend in that artistic intentions are successfully realized in the work, then we have a real sharing of a correct, experiential understanding of the work between artist and audience, and thus real communication between them in the sense of artist-audience communication explained above. On the other hand, if what the artist did intend is not realized in the work and thus does not coincide with work-meaning as part of what she or he could have intended, then we still have at least a minimal, hypothetical sharing and communication insofar as our correct, experiential understanding of the work is shared with what the artist could have intended.This bears relevance for aesthetic education, assuming one of the purposes of aesthetic education is to teach children and other newcomers to art how to appreciate artworks.5 In teaching people how to appreciate artworks, I suggest we emphasize the shared, communicative aspects of the experience of artworks when they are understood more or less correctly. We should tell them that they should seek to communicate with the artist via the artwork, trying to understand the artwork correctly in the very experience of the... (shrink)

This article proposes a model of comparative mysticism that bases its rationale for comparison in the dynamic interaction between three components: neurocognitive mechanisms and substrates, phenomenal experiences, and noetic accounts. In examining the phenomenon of ego- dissolution ( EDn), using this model, a scholar can identify universal and contextual components of a mystic’s experiences. The neurocognitive component is derived from neuroscientific studies including brain injury, psychedelics, and meditative practices. The phenomenal and noetic components are derived from personal accounts as narrated (...) by the mystics themselves. These three components will be applied to the ego- dissolution experiences of the modern Indian mystic Sadhguru (1957–Present), the medieval Spanish mystic Teresa of Ávila (1515–1583), and individuals, including scientists, using the psychedelics psilocybin and LSD. This model should introduce an alternative approach to comparative mysticism as a response to the long-standing debate between Walter T. Stace’s essentialist model and Steven T. Katz’s contextualist model, respectively. In particular, the neurocognitive component should function as a bridge providing a deeper level of analysis encompassing and undermining differences between universalist and contextualist reductions. The advent of comparative mysticism may be seen as a collaborative effort that is multidisciplinary in nature, contributing to theology, religious studies, philosophy, history, cognitive neuroscience, and many other disciplines. (shrink)

Today, business corporations across the globe are moving beyond the short-term myopic goal of profit maximization to long-term sustainability goals involving environmental, social and corporate governance goals. This is due to the growing realization that ESG factors constitute a significant source of risk for the business and can affect their financial returns. Academic research has shown that improved ESG performance has lowered risk and enhanced financial performance but results seemed to vary widely across countries. Regrettably, this subject remains largely un-researched (...) in the context of emerging economies, including India. This paper attempts to fill this much needed gap in sustainability literature in one of the largest emerging market economies, India. It empirically examines the impact of environmental, social and corporate governance performance of companies on their financial performance, in India, using panel regression models. The findings of the study indicate that good corporate ESG performance enhances financial performance. The findings of this study have important implications for investors, corporate management as well as policymakers and regulators. (shrink)

In the present work, I attempt to address the issue of what it means to say that art is a form of communication, that many works of art communicate to us, and that many avant-garde artworks do not communicate to us. These are claim often made by those who are appropriately backgrounded in the arts, and often even by laypersons. ;I focus largely on music and claim that artistic communication is important though not essential to be an artwork, and to (...) be valuable as such. At least four different concepts or senses of artistic communication are identified: artistic communication of messages, artistic communication of information, artistic communication of mental states, and artist-audience communication. A work of art may communicate in one or the other of these senses without necessarily communicating in all of these senses. ;It is also claimed that these different concepts of artistic communication have humanistic, cognitive and other values. At the same time, I reject the view that art should be seen as some sort of language, and that artistic communication should be explicated in terms of art being some sort of language. ;Within the broad framework of artistic communication, I also deal with some central issues in philosophical aesthetics, as well as some issues outside aesthetics, and often offer my own views on these in the light of what others have said. These issues include the role of the artist's intentions in interpreting artworks, artistic expressiveness, the values of art, the allegedly non-communicative and alienating effect of avant-garde art, Tolstoy's theory of artistic communication, and art's contributing to our self-understanding. Other issues discussed include the nature of metaphors and the question of their paraphraseability, and the nature of emotions, moods and feelings. (shrink)

Interpretation of the yoga philosophy of Aurobindo Ghose, 1872-1950.

Dear editor,I read with interest the findings from Professor Seale's study and listened to the discussion with the author on Radio 4's Today programme on the 26 August 2010.I commend the author's conclusions that ‘Greater acknowledgement of the relationship of doctors' values with clinical decision-making is advocated’. The study opens up a wider debate about the relationship of both doctors' and nurses' values with the whole process of care. The Liverpool Care Pathway for ….

Conflict resolution practitioners consistently struggle with access to structured armed conflict data, a dataset already rife with uncertainty, inconsistency, and politicization. Due to the lack of a standardized approach to collating conflict data, publicly available armed conflict datasets often require manipulation depending upon the needs of end users. Transformation of armed conflict data tends to be a manual, time-consuming task that nonprofits with limited budgets struggle to keep up with. In this paper, we explore the use of a deep natural (...) language processing model to aid the transformation of armed conflict data for conflict analysis. Our model drastically reduces the time spent on manual data transformations and improves armed conflict event classification by identifying multiple incidence types. This minimizes the human supervision cost and allows nonprofits to access a broader range of conflict data sources to reduce reporting bias. Thus, our model contributes to the incorporation of technology in the peace building and conflict resolution sector. (shrink)

On the works and philosophy of Gaṇeśa Muni Śāstrī, b. 1931, Jaina saint and author.