We present a technique for the analysis of pattern formation by a class of models for the formation of ocular dominance stripes in the striate cortex of some mammals. The method, which employs the adiabatic approximation to derive a set of ordinary differential equations for patterning modes, has been successfully applied to reaction-diffusion models for striped patterns [1]. Models of ocular dominance stripes have been studied [2,3] by computation, or by linearization of the model equations. These (...) techniques do not provide a rationale for the origin of the stripes. We show here that stripe formation is a non-linear property of the models. Our analysis indicates that stripe selection is closely linked to a property in the dynamics of the models which arises from a symmetry between ipsilateral and contralateral synapses to the visual cortex of a given hemisphere. (shrink)

Nikos K. Logothetis University of Manchester, Manchester, UK In binocular rivalry, the visual percept alternates stochastically between two dichoptically presented stimuli. It is established that both processes related to the eye of origin and binocular, stimulus-related processes account for these fluctuations in conscious perception. Here we studied how their relative contributions vary over time. We applied brief disruptions to rivalry displays, concurrent with an optional eye swap, at varying time intervals after one stimulus became visible (dominant). We found that early (...) in a dominance phase the dominant eye determined the percept by stabilizing its own contribution (regardless of the stimulus), with an additional yet weaker stabilizing contribution of the stimulus (regardless of the eye). Their stabilizing contributions declined in parallel with time so that late in a dominance phase the stimulus (and in some cases also the eye-based) contribution turned negative, favoring a perceptual (or ocular) switch. Our findings show that depending on the time, first processes related to the eye of origin and then those related to the stimulus can have a greater net influence on the stability of the conscious percept. Their co-varying change may be due to feedback from image- to eyeof-origin representations. (shrink)

In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s iconoclastic, anti- (...) class='Hi'>ocular thinking, his concept of visage is richly applicable to film, and especially to documentary. (shrink)

How can the question of authority, the power and presence of the English, be posed in the interstices of a double inscription? I have no wish to replace an idealist myth—the metaphoric English book—with a historicist one—the colonialist project of English civility. Such a reductive reading would deny what is obvious, that the representation of colonial authority depends less on a universal symbol of English identity than on its productivity as a sign of difference. Yet in my use of “English” (...) there is a “transparency” of reference that registers a certain obvious presence: the Bible translated into Hindi, propagated by Dutch or native catechists, is still the English book; a Polish émigré, deeply influenced by Gustave Flaubert, writing about Africa, produces an English classic. What is there about such a process of visibility and recognition that never fails to be an authoritative acknowledgement without ceasing to be a “spacing between desire and fulfillment, between perpetuation and its recollection … [a] medium [which] has nothing to do with a center” ?This question demands a departure from Derrida’s objectives in “The Double Session”; a turning away from the vicissitudes of interpretation in the mimetic act of reading to the question of the effects of power, the inscription of strategies of individuation and domination in those “dividing practices” which construct the colonial space—a departure from Derrida which is also a return to those moments in his essay when he acknowledges the problematic of “presence” as a certain quality of discursive transparency which he describes as “the production of mere reality-effects” or “the effect of content” or as the problematic relation between the “medium of writing and the determination of each textual unit.” In the rich ruses and rebukes with which he shows up the “false appearance of the present,” Derrida fails to decipher the specific and determinate system of address that is signified by the “effect of content” . It is precisely such a strategy of address—the immediate presence of the English—that engages the questions of authority that I want to raise. When the ocular metaphors of presence refer to the process by which content is fixed as an “effect of the present,” we encounter not plenitude but the structured gaze of power whose objective is authority, whose “subjects” are historical. Homi K. Bhabha is lecturer in English literature and literary theory at the University of Sussex. He is working at present on Power and Spectacle: Colonial Discourse and the English Novel and is commissioning and editing a collection of essays entitled Nation and Narration: Post-structuralism and the Culture of National Identity. He is also writing the introduction to the new English edition of Frantz Fanon’s Black Skin, White Masks. (shrink)

No one before Platter and Kepler proposed retinal reception of an inverted visual image. The dominant tradition in visual theory, especially that of Alhazen and his Western followers, subordinated the intra-ocular geometry of visual rays to the requirement for an upright image and to preconceptions about the precise nature of the visual spirit and its part in vision. Henry of Langenstein and an anonymous glossator in the late Middle Ages proposed alternatives to Alhazen, including the suggestion of double inversion (...) of the image. Leonardo da Vinci was aware of both Alhazen's theory and Henry's contradiction, but perhaps not of the anonymous hypothesis of double inversion. Leonardo's visual ‘theory’ has more the character of a critique than of a theoretical alternative, and he did not transcend the medieval concept of visual spirit. (shrink)

[David Charles] Aristotle, it appears, sometimes identifies well-being with one activity, sometimes with several, including ethical virtue. I argue that this appearance is misleading. In the Nicomachean Ethics, intellectual contemplation is the central case of human well-being, but is not identical with it. Ethically virtuous activity is included in human well-being because it is an analogue of intellectual contemplation. This structure allows Aristotle to hold that while ethically virtuous activity is valuable in its own right, the best life available for (...) humans is centred around, but not wholly constituted by, intellectual contemplation. /// [Dominic Scott] In Nicomachean Ethics X 7-8, Aristotle distinguishes two kinds of eudaimonia, primary and secondary. The first corresponds to contemplation, the second to activity in accordance with moral virtue and practical reason. My task in this paper is to elucidate this distinction. Like Charles, I interpret it as one between paradigm and derivative cases; unlike him, I explain it in terms of similarity, not analogy. Furthermore, once the underlying nature of the distinction is understood, we can reconcile the claim that paradigm eudaimonia consists just in contemplation with a passage in the first book requiring eudaimonia to involve all intrinsic goods. (shrink)

Cudmore, Dominic Ecclesial movements, inspired by a desire to live the Gospel more intensively and to announce it to others, have always been manifest in the midst of the People of God. ... In our day and particularly during recent decades, new movements have appeared that are more independent of the structures and style of the religious life than in the past.

For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

This article comprises a dialogue between two historians who have attempted, individually, to narrate the life of Lord George Gordon (1751 – 93), the Scottish prophet, revolutionary, and convert to Judaism. For modern cultural historians, Gordon's peregrinations between identities offer a kaleidoscopic view of Britain in the overlooked but crucial interstice between the upheavals of 1776 and 1789. Yet the partial nature of the evidence, the long omission of Gordon from the historiography of eighteenth-century Britain, and the complex, often furtive (...) nature of Gordon's activism create multiple ambiguities in his story. These ambiguities are compounded here by the authors' differing approaches. Marsha Keith Schuchard argues for a Gordon shaped by Scottish origins; Dominic Green, for a Gordon responding to English opportunities. They disagree over the likely date of Gordon's conversion to Judaism and, crucially, over whether he was a religious atavist or a Romantic pioneer. This dialogue is meant to illustrate the utility of a scholarship that acknowledges fuzziness rather than attempting to overclarify it. The article is also meant to show, however, that on the public stage fuzziness can be less benign: Gordon was a religious politician, who reworked his complexities and confusions into a violent, uncompromising critique of eighteenth-century British social order. (shrink)

Quand il se positionne face à Kierkegaard, Levinas a le réflexe de placer la pensée de l’auteur danois dans un idéalisme abstrait. Ce réflexe le conduit à croire que le Moi existentiel, égoïste, se détache de l’autre dans la violence et se trouve impuissant à revenir sur lui-même. Cet article veut montrer que, nonobstant cette critique, les deux auteurs, attentifs aux limites du langage, partagent de nombreux points en commun, tant et si bien qu’ils sont peut-être les deux plus grands (...) représentants d’une éthique de la proximité qui tente d’échapper au langage totalisant de la métaphysique. (shrink)

In _ Psychiatry in the Scientific Image, _Dominic Murphy looks at psychiatry from the viewpoint of analytic philosophy of science, considering three issues: how we should conceive of, classify, and explain mental illness. If someone is said to have a mental illness, what about it is mental? What makes it an illness? How might we explain and classify it? A system of psychiatric classification settles these questions by distinguishing the mental illnesses and showing how they stand in relation to one (...) another. This book explores the philosophical issues raised by the project of explaining and classifying mental illness. Murphy argues that the current literature on mental illness -- exemplified by the Diagnostic and Statistical Manual of Mental Disorders -- is an impediment to research; it lacks a coherent concept of the mental and a satisfactory account of disorder, and yields too much authority to commonsense thought about the mind. He argues that the explanation of mental illness should meet the standards of good explanatory practice in the cognitive neurosciences, and that the classification of mental disorders should group symptoms into conditions based on the causal structure of the normal mind. (shrink)

From the invention of the alphabet to the explosion of the internet, Dominic Wyse takes us on a unique journey into the process of writing. Starting with seven extraordinary examples that serve as a backdrop to the themes explored, it pays particular attention to key developments in the history of language, including Aristotle's grammar through socio-cultural multimodality, to pragmatist philosophy of communication. Analogies with music are used as a comparator throughout the book, yielding radically new insights into composition processes. The (...) book presents the first comprehensive analysis of the Paris Review interviews with the world's greatest writers such as Louise Erdrich, Gabriel Garcia Márquez, Ted Hughes, and Marilynne Robinson. It critically reviews the most influential guides to styles and standards of language, and presents new research on young people's creativity and writing. Drawing on over twenty years of findings, Wyse presents research-informed innovative practices to demonstrate powerfully how writing can be learned and taught. (shrink)

Pictorialists prefigure contemporary photographers for whom there are no holds barred when it comes to making an image from a recording event. The difference is that the inventory of image rendering tricks is now colossal. Liberal use of this inventory characterizes the third, lyric, art of photography. In lyric verse, the authors find heightened attention to the musical qualities of language, to the materiality of the sounds of speech, and to their emotional resonances. Lyric photographs tweak the variables of the (...) photographic process as it is characterized by the new theory of photography, whereas the traditional theory of photography does not welcome lyric photographs with the same warmth. By expanding the conception of pure photography to include lyricism, the new theory runs head to head with the traditional theory but also with the proposition that purity implies uniqueness. (shrink)

Les populations vulnérables connaissent souvent des besoins complexes qui exigent de multiples interventions. Pour aider ces populations de façon effective, et de façon efficace du point de vue de l’État, beaucoup de pays visent à réaliser une meilleure intégration des services sociaux. Ce chapitre examine les enjeux liés à une telle intégration.

Les Arts et les Images se veut une introduction aux principaux terrains d’investigation de Dominic McIver Lopes, philosophe canadien contemporain, figure incontournable de l’esthétique et de la philosophie de l’art en langue anglaise au cours des vingt dernières années. Il ouvre une réflexion sur les méthodes employées en esthétique et philosophie de l’art aujourd’hui, qu’on soit un philosophe dit « analytique » ou bien « continental », Lopes cherchant à penser le lien entre les deux traditions. -/- À travers leur (...) textes respectifs, Laure Blanc-Benon, Jacques Morizot et Frédéric Pouillaude instaurent un dialogue avec Dominic McIver Lopes, sur plusieurs de ses livres : Understanding Pictures (1996), ouvrage de référence sur la question philosophique des images et de la représentation, Beyond Art (2014), livre qui traite de la question classique au XXe siècle de la définition de l’œuvre d’art, et Four Arts of Photography (2016) dans lequel Dominic Lopes met en avant une nouvelle philosophie de la photographie. À ce dialogue s’ajoutent trois textes de Lopes inédits en français, portant sur la méthode de l’esthétique et de la philosophie de l’art et également sur la question de la beauté et de la valeur esthétique. (shrink)

I am grateful to the commentators for their thoughtful engagement with my paper.1 I am unable in this short response to reply to all of the important questions raised. Instead, I will focus on the practical application of identity-relative paternalism. Some commentators felt that this novel concept would yield implausible implications,2 others that it would have no impact because of uncertainty,3 or because existing ethical principles would yield the same conclusion.4 In the paper, I proposed the following principle: > Identity-relative (...) paternalistic intervention: Individuals should be prevented from doing to future selves (where there are weakened prudential unity relations between the current and future self) what it would be justified to prevent them from doing to others. What sorts of intervention might fit under this principle? Garstman et al give the example of living kidney donation.2 They imagined ‘Beth’, who altruistically decides to donate a kidney to a third party. Beth’s decision would mean that a future BethT2 would be deprived of a kidney, be at risk of immediate perioperative complications and would be at (somewhat) higher risk of long-term health complications including renal failure. But they argue that we would be justified in preventing someone from inflicting such harms on a third party (eg, we should stop someone from stealing a kidney). Hence, they claim that identity relative paternalism would rule …. (shrink)

On the stupidity of oysters -- Divining creaturely love -- Horsing around: the marriage blanc of Nietzsche, Andreas-Salomø, and Røe -- Groping for an opening: Rilke between animal and angel -- Electric caresses:Rilke, Balthus, and Mitsou -- Between perfection and temptation: Musil, Claudine, and Veronica -- The biological travesty -- "The creature whom we love": Proust and jealousy -- The love tone: capture and captivation -- "The soft word that comes deceiving": Fournival's bestiary of love -- The cuckold and the (...) cockatrice: Fourier and Hazlitt -- The animal bride and horny toads -- Unsettled being: Ovid's metamorphoses -- Fickle metaphysics -- Nymphomania and faunication -- Senseless arabesques: Wendy and Lucy -- The goat in the machine (a reprise) -- On cetaceous maidens -- Animal magnetism and alternative currents (or Tesla and the white dove). (shrink)

Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His book (...) will be essential reading for anyone working in aesthetics and art theory, and for all those intrigued by the power of images to affect our lives. '...tightly focused and carefully argued... an exceptionally interesting contribution to the philosophy of art: it contains subtle, concise, and convincing discussions of a number of difficult concepts and contentious doctrines... lucid and meticulous'. (shrink)