Barsalou's interesting model might benefit from defining simulation and clarifying the implications of prior critiques for simulations (and not just for perceptual symbols). Contrary to claims, simulators (or frames) appear, in the limit, to be amodal. In addition, the account of abstract terms seems extremely limited.

Book reviewed in this article: In That Case: Medical Ethics in Everyday Practice. By Alastair Campbell and Roger Higgs. Medical Genetics Casebook: A Clinical Introduction to Medical Ethics Systems Theory. By Colleen D. Clements. Cases in Bioethics from the Hastings Center Report. Edited by Carol Levine and Robert M. Veatch. Hastings‐on‐Hudson.

Cet article est une version révisée d’un texte prononcé le 26 novembre 2018 à l’occasion de la journée organisée par l’université de Caen Normandie en hommage à Robert Legros, autour de son nouvel ouvrage intitulé Levinas. Une philosophie de l’altérité. Il mène une lecture critique de l’ouvrage guidée par une question essentielle : l’éthique de Levinas peut-elle prétendre au statut de phénoménologie, ou est-elle irrémédiablement liée à une théologie? En parcourant les chapitres du livre sur le temps, la relation (...) à autrui, le propre de l’homme et la politique, l’article examine la façon dont Robert Legros démontre le caractère universel des descriptions de l’humanité par Levinas – et ce en dépit de la référence nécessaire au langage de la Bible pour dire la responsabilité envers le visage. (shrink)

Structural biology has experienced several transformative technological advances in recent years. These include: development of extremely bright X-ray sources and the use of electrons to extend protein crystallography to ever decreasing crystal sizes; and an increase in the resolution attainable by cryo-electron microscopy. Here we discuss the use of these techniques in general terms and highlight their application for biological filament systems, an area that is severely underrepresented in atomic resolution structures. We assemble a model of a capped tropomyosin-actin minifilament (...) to demonstrate the utility of combining structures determined by different techniques. Finally, we survey the methods that attempt to transform high resolution structural biology into more physiological environments, such as the cell. Together these techniques promise a compelling decade for structural biology and, more importantly, they will provide exciting discoveries in understanding the designs and purposes of biological machines. Structural biology is undergoing technological advancements that now reveal the structures of previously inaccessible biological machines. Microfocus synchrotron beamlines, X-ray free electron lasers, and MicroED cope with vanishingly small crystals, while cryo-electron microscopy targets single molecules at near atomic resolution. These advances promise an exciting decade for structural biology. (shrink)

Robert John Ackermann deals decisively with the problem of relativism that has plagued post-empiricist philosophy of science. Recognizing that theory and data are mediated by data domains (bordered data sets produced by scientific instruments), he argues that the use of instruments breaks the dependency of observation on theory and thus creates a reasoned basis for scientific objectivity. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished (...) backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

In a style that is both philosophically sophisticated and accessible to general readers, Robert Almeder introduces readers to the vigorous debate in the scientific community about the possibility of personal survival after death. He argues that belief in some form of personal survival is as empirically justifiable as our belief in the past existence of dinosaurs. Drawing on 21 of the best case studies in reincarnation, apparitions of the dead, ostensible possession, out-of-body experiences, and trance mediumships, Death and Personal (...) Survival offers a comprehensive discussion of the best empirical evidence in each of these areas and refutes alternative explanations offered by sceptics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 136-146MuseSearchJournalsThis JournalContents[Access article in PDF]The Christian Bain de Diane, or the Stakes of an Ambiguous ParatextPatrick AmstutzTranslated by Gerald MooreUpon its publication, Le bain de Diane elicited few reactions on the part of criticism. Klossowski's name was still a secret and, despite its note among writers such as Bataille, Beauvoir, Camus, Parain, and Sartre and their public following, the number of readers to have read this (...) fifth work remained confined to those already familiar with Klossow-ski the essayist (Sade mon prochain, Méditations bibliques de Hamann), or the novelist (La vocation suspendue, Roberte, ce soir). The discreet silence that characterized the first reception of Le bain de Diane would last until the end of the seventies, despite a reedition in 1972 by the same publisher. During this time three important moments made Le bain de Diane resurface at the heart of the literary world: first, in fictional form, thanks to a subtle but explicit homage paid by Henri Thomas [Le promontoire]; second, in the form of a penetrating commentary article by Michel Foucault ["La prose d'Actéon"], and finally, at the hands of René Micha and Catherine Backès-Clément, key contributors to the issue that the review L'Arc dedicated to the writer. The reedition of Le bain de Diane by Gallimard1 would significantly relaunch interest in this work which, one comes increasingly to realize, is a major text in the Klossowskian oeuvre: offering a reflection on the image and writing, it was Gilles Quinsat who would open this new period of critical reception.An Uncertain IdentityQuinsat emphasizes the "series of 'tableaux' that glazes Le Bain de Diane" in accordance with a "circular" descriptive movement, he says, "from vision to commentary, attributed to the deferral without end of signs, and which feeds the entire work of Pierre Klossowski" [95]. And if he borrows the term "exegesis" from Foucault to describe the genre of the work, he immediately associates it with that of "narrative." A quarter of a century earlier, a commentary in the new Nouvelle revue française had already underlined the "disconcerting" character of Klossowski's book, by accentuating not only the strangeness of its thematic, but also the difficulties posed by the uncertainty of its generic belonging (which is echoed by the absent mention of a paratext): the critic, hesitating, suggested somewhat confusedly a typological kinship with philosophical commentary, theological scholasticism, prose poetry, series of paintings, historical narrative and even the analysis of myths [Amer 144]. In fact, this mythological "reverie," neither an essay nor a narrative, is, from this point of view, a typically Klossowskian [End Page 136] book, as Ian James has more recently reminded us [143]. Le bain de Diane mixes erudite commentary and narrative discourse so well that it entices its commentators into the traps of scholarly, historical, and philological annotation. Yet this would be to forget, as Maurice Blanchot has observed [92–94], that the written oeuvre of Klossowski belongs fully to the field of literature, even more so than to those of philosophy, theology, or psychoanalysis.When it comes to discerning the literariness of this literary object, which the different paratextual and intertextual stakes and levels underline, the principal difficulty consists in not losing oneself in a mythological labyrinth and innumerable variants of the cult of Artemis, which was one of the most significant, oldest, and popular cults of the Greco-Roman era and which plunges into a world on whose complexity historians and philologists have insisted on many occasions. The study of Klossowski's sources could lead one through multiple disciplines (philology, mythography, psychoanalysis, the history of religions, history of art, French literature—all centuries cobbled together, and so on) to overly vast inquiries: the goddess "of a thousand names" assumes a properly vertiginous semiotic richness, and the cult of Artemis, before being linked to that of Apollo, stretches back to time immemorial where, behind Artemis, can be glimpsed the Asiatic figure of a Great Mother Goddess, whose... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sick with PassionAlfred LouchOpera: Desire, Disease, Death, by Linda and Michael Hutcheon; xvi & 294 pp. Lincoln: University of Nebraska Press, 1996, $40.00.IDriving east from the Auvergne you may chance upon La Chaise-Dieu, a charming village where a very acceptable cafe confronts the fortress-like Abbatiale de St Robert across the village square. The church itself is an imposing monument to the ephemeral glory of the Avignon Pope Clement (...) VI, but its most extraordinary feature is a fresco in the aisle to the left of the choir. Called the Danse Macabre, it depicts death as a sequence of skeletons, each of which beckons, pleads with, consoles, or compels its many victims—young and old, rich and poor, exalted or mean—toward their inevitable end. At times the skeleton’s posture is sinister and threatening, at others, as with children, it seems to turn away, as if to shield them from its fearful aspect. The skeletons seem to catch the movement of a single dancer as they select one partner after another, taking the life of each in a graceful though ghastly movement.The fresco depicts the Black Death—art inspired by disease and contagion. But even if you were as innocent of history as the typical American tourists you would confront in the fresco the undeniable image of death, and the caprice of its visitation, a thought contrasting strangely with the enduring granite of the church. Your experience may be enriched by history and lead you to moralize on the contrast [End Page 155] between the pomp and grandeur of the papal builder and the fresco’s depiction of the vanity of human wishes. But it would be a jarring note if some know-it-all in the company of viewers were to lecture for all to hear on the transmission and symptoms of pasteurella pestis. That is another story, and an interesting one, but not here and now.And so it is, if not so abrasively, with a recent book by Linda and Michael Hutcheon on desire, disease, and death in opera. They hope to shed new light, by combining literary analysis and the medical theory of disease and contagion, on the themes and purposes of opera, or certain operas anyway. Somehow the passages on mycobacterium tuberculosis, treponema pallidum, and vibrio cholerae, together with graphic descriptions of the symptoms caused by these micro-organisms, and an accompanying photograph of syphilitic gummæ seem intrusive, just as talk about the etiology and the pathology of the plague strikes a discordant note as we look upon the Danse Macabre in wonder and fear. The Hutcheons, a husband and wife team who practice, respectively, medicine and literary criticism, tell the reader they are opera lovers. I hope their affection is not prompted only by infection.But why shouldn’t medicine and its history be relevant to literary, artistic, or musical creation? Think here of a question Wittgenstein asks in Zettel (paragraph 610): “Why should there not be a psychological regularity to which no physiological regularity corresponds? If this upsets our concept of causality then it is high time it was upset.” He did not mean to say that it would not be surprising if someone talked and acted and looked like a person but turned out to have an empty skull. But he did mean surely that talk about human projects and emotions is complete as it stands; what is going on in the neurons and what busy microbes are doing are other stories. Literature is about human projects, the skill or clumsiness with which they are pursued, the responses to success and failure, achievement and frustration. Opera, which, ever since someone had the idea of putting story to song, raided literary invention for its subject matter, is the same. Heroes and villains may of course be expected to be vulnerable to the various vicissitudes of life. Diseases may lay them low, as well as passing trains. But disease enters their stories to delay or frustrate or put period to their projects, not as new characters on the stage. If you read about the death of Ivan Illych and come away dissatisfied because Tolstoy failed to identify the... (shrink)

A renowned scholar investigates the "human crisis" that Albert Camus confronted in his world and in ours, producing a brilliant study of Camus's life and influence for those readers who, in Camus's words, "cannot live without dialogue and friendship. As France--and all of the world--was emerging from the depths of World War II, Camus summed up what he saw as 'the human crisis'. 'We gasp for air among people who believe they are absolutely right, whether it be in their machines (...) or their ideas. And for all who cannot live without dialogue and the friendship of other human beings, this silence is the end of the world.' In the years after he wrote these words, until his death fourteen years later, Camus labored to address this crisis, arguing for dialogue, understanding, clarity, and truth. When he sailed to New York, in March 1946--for his first and only visit to the United States--he found an ebullient nation celebrating victory. Camus warned against the common postwar complacency that took false comfort in the fact that Hitler was dead and the Third Reich had fallen. Yes, the serpentine beast was dead, but "we know perfectly well," he argued, "that the venom is not gone, that each of us carries it in our own hearts." All around him in the postwar world, Camus saw disheartening evidence of a global community revealing a heightened indifference to a number of societal ills. It is the same indifference to human suffering that we see all around, and within ourselves, today. (shrink)

During the Weimar Republic, Siegfried Kracauer established himself as a trenchant theorist of film, culture, and modernity, and he is now considered one of the key thinkers of the twentieth century. When he arrived in Manhattan aboard a crowded refugee ship in 1941, however, he was virtually unknown in the United States and had yet to write his best-known books, _From Caligari to Hitler_ and _Theory of Film_. Johannes von Moltke details the intricate ways in which the American intellectual and (...) political context shaped Kracauer’s seminal contributions to film studies and shows how, in turn, Kracauer’s American writings helped shape the emergent discipline. Using archival sources and detailed readings, von Moltke asks what it means to consider Kracauer as the New York Intellectual he became in the last quarter century of his life. Adopting a transatlantic perspective on Kracauer’s work, von Moltke demonstrates how he pursued questions in conversation with contemporary critics from Theodor Adorno to Hannah Arendt, from Clement Greenberg to Robert Warshow: questions about the origins of totalitarianism and the authoritarian personality; about high and low culture; about liberalism, democracy, and what it means to be human. From these wide-flung debates, Kracauer’s own voice emerges as that of an incisive cultural critic invested in a humanist understanding of the cinema. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sighs and Tears:Biological Signals and John Donne's "Whining Poetry"Michael A. WinkelmanPhebe: Good shepherd, tell this youth what 'tis to love. Silvius: It is to be all made of sighs and tears...—Shakespeare, As You Like It (5.2.83–84)ISighs and tears permeate John Donne's poetry, as well they should. Crying in particular functions as a costly signal in biological terms: a blatant, physiologically-demanding, involuntary indicator of hurt feelings. "Tears dim mine eyes," (...) laments Donne's Sappho ("Sappho to Philaenis," l. 56); they are "Fruits of much grief" in "A Valediction of Weeping" (l. 7).1 The theory of costly signaling, related to the handicap principle, was developed fairly recently by Israeli zoologists Amotz and Avishag Zahavi. As the Zahavis explain: "in order to be effective, signals have to be reliable; in order to be reliable, signals have to be costly."2 Initially their idea was resisted, but it has since become widely accepted and it has proven very helpful in making sense of both animal and human behavior. Wasteful conspicuous consumption among upper-class Americans, as noted a century ago by sociologist Thorstein Veblen, exemplifies this handicap principle in action. Like gazelles jumping in place or stotting rather than running away when wolves appear, it indicates fitness by flaunting excess resources.Shedding tears when feeling sad is an evolved human adaptation that broadcasts unhappiness. The wailing of infants demands attention, and crying does something similar for grown-ups: among other things, it tests the commitment of hearers to appease the distressed. For instance, in Chaucer's tragic medieval romance Troilus and Criseyde, Pandarus advises [End Page 329] Troilus to provoke a suitable reaction from Criseyde by embellishing his billet-doux: "Towchyng thi lettre... Biblotte it with thi teris ek a lite" (touching thy letter... Be-blot it with thy tears a little).3 Early modern authors also knew their importance. In the words of Robert Herrick, "tears are tongues," while Claudius suspects that "There's matter in these sighs, these profound heaves" (Hamlet, 4.1.1).4As a case in point, Donne was overwhelmed by the death of his dear wife Anne in 1617. As his contemporaneous biographer Izaak Walton reported: "his very soul was elemented of nothing but sadness; now, grief took so full a possession of his heart, as to leave no place for joy."5 Donne even hoped to be literally entombed with her soon: "as the grave is become her house, so I would hasten to make it mine also; that we two might there make our beds together in the dark" (Walton, p. 51). His miserable mood was revealed in his initial sermon after her demise:His first motion from his house was to preach, where his beloved wife lay buried (in St. Clement's Church, near Temple-Bar, London) and his text was a part of the Prophet Jeremiah's Lamentation: "Lo, I am the man that have seen affliction."And indeed, his very words and looks testified him to be truly such a man; and they, with the addition of his sighs and tears expressed in his Sermon, did so work upon the affections of his hearers as melted and molded them into a companionable sadness; and so they left the Congregation.(Walton, p. 52)Listeners responded in kind to his honest confessions, a textbook illustration of the empathy generated by crying. (A related issue—how and why literature affects audiences so strongly—is currently generating some very interesting work from New Humanists investigating the question from an evolutionary perspective.)These qualities make sighs and tears fundamental to love poetry. In other words, writers deploy them because they reflect universal states of mind, rather than originating as some arbitrary, socially-constructed literary device. The copious opening sonnet of Petrarch's magnificent Rime sparse codifies the theme:6You who can hear in scattered rhymes the soundof all that sighing which once fed my heartin my first youthful error, when in partI was a person of a different kind—my changing manner as I weep and reason, [End Page 330] between vain aspirations and vain grief,leads everyone who has known... (shrink)

Many segments of society have systems of values arising from collective beliefs and motivations. For agriculture, and our food system, increasing production to feed the growing human population clearly is a core value. However, a survey we conducted, together with a previously reported survey, showed that the curricula of most U.S. colleges of agriculture do not offer ethics courses that examine the basis of this core value or include discussion of agriculture’s ethical dilemmas such as misuse of pesticides, not progressing (...) rapidly enough toward sustainability goals, relative lack of involvement in addressing diet-related health issues, and lack of commitment to reducing agriculture’s role as a contributor to global climate change. These surveys provide strong evidence that few students have an opportunity to learn ethical concepts and apply them to issues of importance to the agriculture/food system. We suggest that such issues are both growing societal concerns and serious ethical problems that demand attention if our agricultural/food system is not see its relationship with the public further imperiled. Further, we suggest that there is a need for, indeed an obligation of, the faculty of colleges of agriculture to embrace a thorough analysis and discussion of agriculture’s values and their ethical foundation. We offer our thoughts on why curricula of colleges of agriculture do not provide such opportunities and on the importance of agricultural faculties providing leadership in ethical analysis and discussion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Roger Bacon and the Origins of “Perspectiva” in the Middle Ages: A Critical Edition and English Translation of Bacon’s “Perspectiva” with Introduction and Notes by David C. LindbergJeremiah HackettDavid C. Lindberg. Roger Bacon and the Origins of “Perspectiva” in the Middle Ages: A Critical Edition and English Translation of Bacon’s “Perspectiva” with Introduction and Notes. Oxford: Clarendon Press, 1996. Pp. cxi + 411. NP.This new critical edition of (...) the Perspectiva (= Opus maius, Part Five) of Roger Bacon is a landmark in Roger Bacon studies and in medieval philosophy. One needs to be able to depend on critical texts. In the case of Bacon’s Perspectiva, no such printed text existed. Professor David C. Lindberg in this new critical edition of the Perspectiva has rectified this absurd situation. And he has done a magnificent service to scholarship. He has produced the first adequate text and translation of this major philosophical text by Roger Bacon. To appreciate his achievement, a review of the previous editions is in order.Prior to Lindberg’s critical edition, there have been three Latin editions: Combach (1614), Jebb (1733, 1750), Bridges (1879 Bridges (1900). Combach used a single Oxford manuscript which is no longer extant. Jebb claimed to have used four manuscripts, but appears to have relied on Combach’s text. In 1897, Bridges used two manuscripts (Dublin and Oxford) and consulted three others. These two Mss. were late and not very reliable. Lindberg’s judgment on the inadequacy of these editions, especially that of Bridges, is, alas, only too true: “My text, found below, corrects the texts of Combach, Jebb, and Bridges in perhaps a thousand readings (my italics)—many of modest significance, but others crucial to an understanding of Bacon’s intent.”Further, a major difficulty arose in regard to the important geometical figures [End Page 133] which are closely linked to the argument in the text. The printed editions were much less adequate than the scribal manuscripts.There is just one translation of the Perspectiva into English, that done by Robert Belle Burke (Philadelphia, 1928). This translation, based on Bridges’s deficient text, was very unsatisfactory.Lindberg used twenty-three of the thirty-nine extant manuscripts, and has examined all of the thirty-nine manuscripts. This enabled him to identify five manuscript families. Six early manuscripts representative of the major families were used as the base text and were fully transcribed. Three manuscripts represent version 1; the four other families are represented by one manuscript each. Eight more manuscripts were used with some frequency, and sparing use was made of another nine manuscripts. A further sixteen manuscripts were not used since they were very late or were fragments.The relationship between the manuscripts is so complex that the editor declined to construct a stemma codicum. He did this with good reason. Bacon had a working practice of producing multiple versions of the same text and this makes for difficulties. In the case of the Perspectiva, however, it would appear that the major differences in text seem to be limited to the Preface and to section 1.9.1. Examples of these are provided in Appendix 1 and 2 of the edition. It would seem then that a stable text of the Perspectiva existed from the beginning, and that minor editorial changes were made only in the Preface and at 1.9.1. Further, in the introduction (xiii), Lindberg notes: “It [the Perspectiva] may have been written about 1263, as Easton guesses.” Still, a question remains open: To what extent was the text itself altered by Bacon between 1263 and 1268 in preparation for Pope Clement IV? Was there not an evolution in the text by way of correction, emmendation, addition?An examination of MS. P (Paris, Bibliothèque National, MS Lat. 7434) [= 18 in Lindberg’s list, p. ciii] would, in my estimation, provide grounds for the belief that family 5 (“Hic aliqua dicenda sunt de perspectiva”) may well be an edited version of family 1 (“Positis radicibus”). That is, the (“Hic aliqua dicenda”) may have been intended as part of the text and not just as a Preface. Further, I now believe that the traditional dating of... (shrink)

We analyze the effects of uncertainty on WTA, WTP and the WTA–WTP gap. Extending the approach of Weber (Econom Lett 80:311–315, 2003) to the case of lotteries, we develop an exact expression for the WTA–WTP gap that allows identification of its magnitude under different utility specifications. Reinterpreting and extending results by Gabillon(Econom Lett 116:157–160, 2012), we also identify generally the relationship between an agent’s utility of income and the gap’s algebraic sign, as well as the effects of risk increases on (...) WTA and WTP. Finally, we derive the limit behavior of the gap as income or risk increase. (shrink)

In 1914, James Leuba, a psychologist at Bryn Mawr, conducted several surveys of scientists and college students regarding their religious beliefs, publishing his findings in a 1916 book titled The Belief in God and Immortality. Among scientists generally, 41.8 percent indicated they were believers in a personal God (defined as a being to whom one could pray, expecting a response), whereas 41.5 percent expressed disbelief in such a God and 16.7 percent declared themselves to be agnostic. Among elite scientists (those (...) with an asterisk by their names in James McKean Cattell's American Men of Science), the percentage of believers was lower, at 31.6 percent. Among elite biologists, the subset who believed in God was even smaller—16.9 percent. In 1996 and 1998, Edward Larson and Larry Witham replicated Leuba's study, publishing their findings in the April 23, 1997, and July 23, 1998, issues of Nature. Their surveys revealed that of all scientists questioned, 39.3 percent professed belief in a personal God, about the same as in the 1914 study. However, among elite scientists—now defined as members of the National Academy of Sciences—the proportion who were believers had plummeted to 7 percent, with biologists showing the least religious conviction at 5.5 percent. In the general population of the United States, some 86 percent profess belief in the existence of a personal God, according to a 1999 Gallup poll. These figures dramatically indicate the great no-mans land separating the religious convictions of ordinary citizens from those of the scientific community, especially its leading members. This dissensus has fueled many of the bitter battles recently fought over evolution and stem cells and has ignited explosive devices laid along several political byways. (shrink)

The author presents a discussion of existentialistic themes as they are found in sartrean literature and scholarly writings. (staff).

In Michel Tournier’s 1967 novel Vendredi ou les Limbes du Pacifique—published in English under the abbreviated title Friday—the protagonist, stranded on an isla.