This paper considers a pair of mutually puzzling first-order intuitions: a case in which it seems both supererogatory for an agent to perform a specified act, and also seems as though were that act not performed, this would have been a failure of moral obligations. I argue that these intuitive reactions are difficult to dislodge and resist accommodation by standard accounts of supererogation. I then argue that this puzzle motivates a new form of supererogatory action: action that, though morally required, (...) is responding to moral circumstances or facts that the ordinary upright agent would typically overlook. (shrink)

In 1922, Cartan introduced in differential geometry, besides the Riemannian curvature, the new concept of torsion. He visualized a homogeneous and isotropic distribution of torsion in three dimensions (3d) by the “helical staircase”, which he constructed by starting from a 3d Euclidean space and by defining a new connection via helical motions. We describe this geometric procedure in detail and define the corresponding connection and the torsion. The interdisciplinary nature of this subject is already evident from Cartan’s discussion, since (...) he argued—but never proved—that the helical staircase should correspond to a continuum with constant pressure and constant internal torque. We discuss where in physics the helical staircase is realized: (i) In the continuum mechanics of Cosserat media, (ii) in (fairly speculative) 3d theories of gravity, namely (a) in 3d Einstein-Cartan gravity—this is Cartan’s case of constant pressure and constant intrinsic torque—and (b) in 3d Poincaré gauge theory with the Mielke-Baekler Lagrangian, and, eventually, (iii) in the gauge field theory of dislocations of Lazar et al., as we prove for the first time by arranging a suitable distribution of screw dislocations. Our main emphasis is on the discussion of dislocation field theory. (shrink)

From Geoffrey A. Moore, author of Crossing the Chasm, which has sold more than 1 million copies, The Infinite Staircase is a bold new book that combines science and philosophy to answer two fundamental questions for humanity: the metaphysical "where do I fit in the grand scheme of things?" and the ethical "how should I behave?".

This volume describes the current "main contenders," including neo-Piagetian, neo-connectionist, neo-innatist and sociocultural models.

The present article was partly inspired by G. Pollack’s book, and also Dadoloff, Saxena & Jensen (2010). As a senior physicist colleague and our friend, Robert N. Boyd, wrote in a journal (JCFA, Vol. 1, No. 2, 2022), for example, things and Beings can travel between Universes, intentionally or unintentionally [4]. In this short remark, we revisit and offer short remark to Neil Boyd’s ideas and trying to connect them with geometry of musical chords as presented by D. Tymoczko and (...) others, then to Escherian staircase and then to Jacob’s ladder which seems to pointto possibility to interpret Jacob’s vision as described in the ancient book of Genesis as interdimensional staircase, e.g. an interdimensional bridge between heaven and earth (cf. classic book: Hofstadter, Godel, Escher, Bach). Jacob’s vision of angels going down to earth from that staircase has been depicted for instance in William Blake art etc. In our communication with others via physics literature and discussions etc, we came to several conclusions as follows: Firstly, possibility of wormhole effect to mirror particle universe, which sometimes it is termed non-orientable wormhole. While such mirror particles effect have been more than 50 years predicted with the so-called parity violation (cf. Lee & Yang, 1950s), and that is called symmetry breaking. Secondly, a series of extended experiments on laser irradiated cold water may suggest possible transition from a phase of water to be at least partially fourth phase of water, which may be composed of crystalline water (see e.g. Gerald Pollack, and also Harold Aspden on liquid crystalline). If we can imagine laser cooling effect can be done in protracted time, then we can achieve a physical representation of Aspden‘s liquid crystalline. Therefore, in this article we outline a series of simple experiments of laser irradiated iced-water along with beryl and selenite crystals in order to see possibility of such a quantum tunneling via quantum liquid crystalline Universe hypothesis, which may likely be modeled with iced-water. It is interesting to remark here that certain experiments by Stockholm University scientists have shown that X-ray triggered water can exhibit properties just like liquid crystal (cf. PRL, 2020). That is why we consider it possible that there can be quantum phase transition where liquid water (comprised of iced cubes and water) can exhibit effects such as tunneling in quantum liquid crystalline Universe. Last but not least, we admit that what we outlined here is just aninitial phase; and if you wish, perhaps we can call such experiments as “wormhole-at-lab” experiments (abbreviated: WHALE). (shrink)

As a senior physicist colleague and our friend, Robert N. Boyd, wrote in a journal (JCFA, Vol. 1,. 2, 2022), Our universe is but one page in a large book [4]. For example, things and Beings can travel between Universes, intentionally or unintentionally. In this short remark, we revisit and offer short remark to Neil’s ideas and trying to connect them with geometrization of musical chords as presented by D. Tymoczko and others, then to Escher staircase and then to (...) Jacob’s ladder which seems to point to possibility to interpret Jacob’s vision as described in the ancient book of Genesis as inter dimensional or heavenly staircase, e.g. an inter dimensional bridge between heaven and earth (see also classic book: Hofstadter, Godel, Escher, Bach). Jacob’s vision of angels going down to earth from that staircase has been depicted for instance in William Blake art etc. In our communication with others via physics literature and discussions etc, we came to several conclusions as follows: Firstly, possibility of quantum wormhole effect to mirror particle universe, which sometimes it is termed non-orientable wormhole. While such mirror particles effect have been more than 50 years predicted with the so-called parity violation (cf. Lee & Yang, 1950s), and that is called symmetry breaking. Secondly, a series of extended experiments on laser irradiated cold water may suggest possible transition from a phase of water to be at least partially fourth phase of water, which may be composed of crystalline water (see e.g. Gerald Pollack, and also Harold Aspden on liquid crystalline). If we can imagine laser cooling effect can be done in protracted time, then we can achieve a physical representation of Aspden’s liquid crystalline. Therefore, in subsequent article (Part II) we outlined simple model of such an effect of tunneling via quantum liquid crystalline Universe, which may likely be modeled with iced-water. It is interesting to remark here that certain experiments by Stockholm University scientists have shown that X-ray triggered water can exhibit properties just like liquid crystal (cf. PRL, 2020). That is why we consider it possible that there can be quantum phase transition where liquid water (comprised of iced cubes and water) can exhibit effects such as tunneling in quantum liquid crystalline Universe. Last but not least, we admit that what we outlined here is just an initial phase; and if you wish, perhaps we can call such experiments as “wormhole-at-lab” experiments (abbreviated: WHALE). (shrink)

Since the end of the Second World War, the Australasian economies have fared poorly relative both to the high-income states of western Europe and North America and to the `miracle' economies strung along the Pacific coasts of Asia. This article attempts to analyze the post-war trajectories of antipodean economies in the context of the reconstruction of the world market under US hegemony after the end of the Second World War. The first section traces the rise of Japan and the emergence (...) of Pacific Asia as a consolidated nexus of densely interwoven patterns of relational networks. The second section examines how ongoing processes of capitalist restructuring undermined the Asian miracle economies. Finally, the last section seeks to analyze the causes for the disproportionately adverse impact that processes of worldwide transformation have had for the two antipodean settler states. (shrink)

The Spiral Staircase, Karen Armstrong’s self-narrative, shows the limitations of theological or religious reflections within a specific religious community. Leaving the Sisters of Charity for a tumultuous academic life, historian of religion Karen Armstrong lives a wrenching ontological dislocation that originates in her undiagnosed epilepsy and negative body experiences. Using semiotician Algirdas Greimas’s ‘Semiotic Square’ as an interpretive strategy, the unresolved tensions and contradictions exposed in the deep narrative structure of this non-traditional conversion memoir are resolved by ‘compassion’ at (...) the manifest level. Armstrong’s experiences, both in and out of the convent, will inform her academic study and lead her to compassionate solidarity with the marginalized. Armstrong’s memoir reveals various internal and external forces that shape an individual woman’s way of being in the world, and that inform her investigation of multiple faith practices and beliefs. In a time of mass refugee migration and ‘homelessness’, the one woman, the one ‘other’, matters in how one thinks about the body and about God. (shrink)

Lezama, and later Deleuze, discovered that the baroque does not refer to an essence, but to an operative function. That operative function is the fold, which "curls and multiplies", as Lezama writes, and proliferates to infinity. We all know the examples with which Lezama placed his concept of the American baroque: the poems of Domínguez Camargo, those of Sor Juana, the architectures of the Kondori Indian, the baptismal fonts of Aleijadinho, "ornamented like accordions, with spiraloid leaves that ascend"; the chapel (...) of the Rosary, in Puebla, omamentada "without truce or free spatial parenthesis". This is how the fold operates, it is like a leprosy or a lichen -in the past, certain lichens were called leprosy-: it infests by enveloping and developing, it proliferates by setting in motion the fold-unfold pair. Lezama does not seek to reconfigure the sequences of history, but to superimpose other cycles on them, create gaps and vanishing points in chronological and causal narratives, divert the emphasis placed on cultures and redirect it to imaginary eras, until the meaning comes from a series of scales established in the historical. The eras would be ordered according to their potentiality to create images; thus it would be possible to establish the points where the image was imposed as history. The Carolingian imaginary era, for example, forged a link between the prodigies, the marvelous islands, the battles against the Saracens and theocratic reason. How are these scales established and how do they operate? How do counterpoint, images and links work? (shrink)

Argues that relations between mind and body are analogous to those between subject matter and style in art.

This paper aims to analyze the façade and staircase of the historic building of the University of Salamanca as an expression of the relationship between philosophy, theology and art in the Spanish Siglo de Oro, and will try to provide a new perspective on the sculptural elements present in both spaces of the university. There are few interpretations on this subject, but they all converge on understanding sculptures as an expression of the myth of the Spanish monarchy. This essay, (...) instead, will show how those same elements can be read in relation to the moral and anthropological needs of 16th century humanity and, thus, that the relationship between university spaces and the people who frequent them is even closer. To enter a space, according to such an interpretation, does not simply mean to use it, but to frequent it and understand in it and from it reflections for everyday life. (shrink)

Crick and Koch’s 1990 “neurobiological theory of consciousness” sparked the race for the physical correlates of subjective experience. 30 years later, cognitive sciences trend toward consideration of the brain’s electromagnetic field as the primary seat of consciousness, the “to be” of the individual. Recent advancements in laboratory tools have preceded an influx of studies reporting a synchronization between the neuronally generated EM fields of interacting individuals. An embodied and enactive neuroscientific approach has gained traction in the wake of these findings (...) wherein consciousness and cognition are theorized to be regulated and distributed beyond the individual. We approach this frontier to extend the implications of person-to-person synchrony to propose a process of combination whereby coupled individual agents merge into a hierarchical cognitive system to which they are subsidiary. Such is to say, the complex mammalian consciousness humans possess may not be the tip of the iceberg, but another step in a succeeding staircase. To this end, the axioms and conjectures of General Resonance Theory are utilized to describe this phenomenon of interpersonal resonant combination. Our proposal describes a coupled system of spatially distributed EM fields that are synchronized through recurrent, entraining behavioral interactions. The system, having achieved sufficient synchronization, enjoys an optimization of information flow that alters the conscious states of its merging agents and enhances group performance capabilities. In the race for the neurobiological correlates of subjective experience, we attempt the first steps in the journey toward defining the physical basis of “group consciousness.” The establishment of a concrete account of the combination of consciousness at a scale superseding individual human consciousness remains speculation, but our suggested approach provides a framework for empirical testing of these possibilities. (shrink)

In December of 2017, President Trump reduced the size of Bears Ears and Grand Staircase-Escalante Monuments by 2 million acres. Conservatives rejoiced, and progressives railed. Yet neither side has clearly identified the moral facets of the situation. The crucial moral question is this: How ought public property be regulated to protect landscapes with cultural significance? We offer criteria for determining when something has cultural value and argue that the moral merits of the present case turn on whether the reduction (...) adequately addresses the cultural interests at play. (shrink)

The global/local contrast is ubiquitous in mathematics. This paper explains it with straightforward examples. It is possible to build a circular staircase that is rising at any point (locally) but impossible to build one that rises at all points and comes back to where it started (a global restriction). Differential equations describe the local structure of a process; their solution describes the global structure that results. The interplay between global and local structure is one of the great themes of (...) mathematics, but rarely discussed explicitly. (shrink)

Temporal discounting is the tendency to devalue temporally distant rewards. Past studies have examined the k-value, the indifference point, and the area under the curve as dependent measures on this task. The current study included these three measures and a fourth measure, called the interest rate total score. The interest rate total score was based on scoring only those items in which the delayed choice should be preferred given the expected return based on simple interest rates. In addition, associations with (...) several individual difference measures were examined including intelligence, executive functions (inhibition, working memory, and set-shifting), thinking dispositions (Need for Cognition and Consideration of Future Consequences) and engagement in substance use and gambling behavior. A staircase temporal discounting task was examined in a sample of 99 university students. Replicating previous studies, temporal discounting increased with longer delays to reward and decreased with higher reward magnitudes. A hyperbolic function accounted for variance in temporal discounting better than an exponential function. Reaction time at the indifference point was significantly longer than at the other choice points. The four dependent measures of temporal discounting were all significantly correlated and were also significantly associated with our individual difference measures. That is, the tendency to wait for a larger delayed reward on all of the temporal discounting measures was associated with higher intelligence, higher executive functions and more consideration of future consequences. Associations between our measures of temporal discounting and outcomes related to substance use and gambling behavior were modest in our university sample. (shrink)

Sometimes I think: I'm flying. And why am I flying? Because of the dress. The flesh, I think, is multiplying itself. Here are the children, I think, going away from me and coming to me. If all is one, I think, why this split?My body of thought is likewise made of a womb of wombs. Whatever it begets begets its own body [in this sense I may be said to be multiparous].I am beautiful like a snip of ivory. My face (...) is like the negative of another woman's face. Whatever she does I do moving backward.I spread a hundred fingers up against the wind and the wind dries the lacquer. At these parties I have no given name. I may be called Flora and I may be called Rosamund. The images of color that I set up in space redeem me.In the morning. After the dreams. I see the white body stitched in bed. My corporal body. The veins that store the precious fluid. What I think have they hauled up there from the deep?I get up as in the miracle that Our Teacher Rabbi Loew worked upon a lump of clay and turn on the stove.Sometimes the light bounces off of forks and knives into the eyes. The light of the fork into the eye of the fork and the light of the knife into the eye of the knife.What am I what am I I am thinking flattening out knives and forks on those wooden headstones they call a table?The bread is the showbread and the butter is the clot of my blood. What are they looking for in these blue thighs?The kitchen windows [as in the ancient Icelandic language] are the wind's eye. This is the house and these are the children's table-napkins.... Now. When everything is in place. I am waterboiling. Water pours out of the mouth of the tap into the mouth of the kettle and I am thinking about these hairs that I have. About the hundreds of thousands of fine threads that rise at night in utter silence from the skin. The walls close in on me but my head. As in the Book of Creation. Extracts from nothingness black streams.Through the drinking glasses I see a great field of ice. A white antelope eating a fish.... What am I with a round shoulder and milk muttering prices of chemicals. The cash registers cut the boundaries of my skin.In supermarkets with thousands of tins of canned peas ought to ambulate people covered with hair. Let them block one another's cart like they once did in the hippodromes of Byzantium.Let them speak—with those colorful rags that they tie around their necks—into mouthpieces of telephones. Let their voices run crisscross like stifled crow calls between wires inside the earth. Why have they enclosed me—I, who can cover entire fields like Bermuda grass—within the confines of an electric bell?At 7:20. As if down the ladder of angels painted by Raphael. The child descends the wooden staircase. His toes are depressed precisely according to the divine image of grief. Each toe and its mirror reflection in the other foot.The forest creatures on the pajama fabric with their mouths gaping open as in the sudden vision seen by our primogenitor when they spread the coat of many colors before him and said: Surely he has been torn to pieces.... When the child turned inside me and stood in the placental fluid with his head to the ground, the two of us were the complete converse figure. One head toward the outer boundary, the other head toward the middle point.It was unnatural how the head emerged. Why did it pierce the membrane in which it was enfolded and discharge the water?Windows previously shut were torn apart. Lids of cookware dropped to the floor. This rupture [Michael. Michael.] gave birth to unreason.The child [in my imaginations he is chasing gadflies] is sitting at the table waiting for his cornflakes. He is eating them flake by flake and inside every flake are little crystals of sugar.This game [being able to hold shreds of sugar inside tiny dents] fills his heart.... The light that radiates in every thing is the light of late autumn. I play with it the age-old game. Ask for its name and it replies.The kitchenware too bear their names [just as they bear the form].... I can write an inner play about The Non-Intervention of Time in Kitchenware. Time will get the leading role.In Act One it will set out [like Ulysses] on a journey. The kitchenware will stay put, each ware in its respective place, within daily life.In Acts Two and Three time will travel so far that one or two wares should drop out of place.Act Four will be called Fatal Incidence and Act Five, The Return of Time.... I shout [an inner shout] Dolores Dolores as if I had a friend whose name were like that.How do you do Dolores [I say in my heart] and exchange recipes for dresses with her.Then Dolores sets out in both directions at once. The direction of the great bird in the sky and the direction of Nachlat Binyamin St.... I can see [by means of two mirrors] my silk dressing gown.The silk dressing gown enfolds me and prepares me for verbal exchange. It enables me to communicate information. If it slides down I kneel down until it slides up [and then I kneel down].... When I think of recollection I wonder how the image of myself gets duplicated.The bathtub gets duplicated and the light above the bathtub. Time sends a facsimile of itself.In the black margins outside the sheet of paper hides my mother. Come out come out she is calling to me like you would to a snail.At that time were created the archetypes of things.The complete washbasin. The complete mirror. Next to every sound was inscribed the right clef.Every movement was a perfectum mobile: I jump and by force of this jump I jump again.... Through the window I see the crow called Salpeter.Good morning Old Salpeter. Did you get your black robe back from the dry cleaner?Sometimes you see me obliquely from the right and sometimes obliquely from the left. What am I? A very strange female crow?I adore your rich language. This single word of yours that has in it all the verb stems.... What is so logical about the sky? The window frame.The window frame is like the twelve apostles. Three in each lintel and in their midst [behind the nebula] is sitting the child Michael.The motion of a doll turned over and the motion of the trains sent by him flying in the air are the divine edict. Get'p get'p he tells me all of you and go'ver there.... See Dolores how simple everything is: There is the kitchen. There is the child. There is the wooden staircase.Whom are we to thank for this grace. The colors are so right Dolores and the shapes precise. Every thing I spell out is cut with utmost perfection for the space allotted to it and for the sequence of time.... My biography may easily be canceled.First cancel the alienation. Then cancel the kneeling in the dark. The joy of the assigned date. The bridal veil and the porcelainware.If a medical ground is required I can say I have edema.... I like the words earth quake.Sometimes I think the earth is quaking and the words are not and sometimes the words are quaking and the earth is not.The great catfish know the earth is about to quake and the Chinese who paint the words with a fine paintbrush six lines for the earth and fifteen for this quake set guards to watch the great catfish who knows what is about to take place.... As if after a very severe accident I have to practice life anew.My physiotherapist tells me: Now a slight movement with the right hand. Now a shake of the head.I learn to press handles. To turn sharply in this or that direction.Lately when they ask me anything I pretend that the reply answers the question.Look Dolores how I refute the theory about the formation of species:I take a bubble of soap from the sink and elevate it to the sun.... There is a thing Dolores and it is infinitely good and I shall not tell you what it is.You can hear it in the first hours of the night when darkness is gaping. It has the property of withdrawing into a point tiny as a tittle.Or you can search for it in places where there appears to be something and there is not. (shrink)

“William Frederking's most effective photographs approach the everyday as still life, avoiding artful arrangement or self-conscious design. They are rich, elegantly photographed records of real life, lived-in and unkempt fragments that retain the echoes of a human presence.”—Michael Bonesteel What makes a house more than just a physical shelter? The old swing on the front porch? The garden in the backyard? The wall clock passed down through generations? We all have furniture, knick-knacks, and other items that represent for us joys (...) and pains, triumphs and tragedies, and the history of our presence in the world. William Frederking takes his own home in Oak Park, Illinois, as the site of such personal talismans, exploring through his photographs the intangible essence of the things that transform a house into a home. In striking black-and-white still-life portraits, Frederking captures the small and large elements that define the spirit of his home, as well as revealing why the home is at the heart of the American dream. Home is a place where objects become enlivened and symbolic—a newspaper lying askew on the kitchen table, a fluffy bedspread spilling through the iron lattice of a bedframe, a staircase spiraling down into mysterious shadows—and thus affirm our existence. Everything we buy or touch, renovate or borrow becomes a mark of our selves, and these marks are nowhere more concentrated than in the home. Frederking’s powerful visual sequence examines the simple backdrop that anchors our complicated lives—and ourselves. A moving photographic chronicle of the materials that shape the home, At Home offers an intimate and graceful meditation on the fragments and ephemera that help us navigate the world. (shrink)

This volume investigates the meaning of visual rhythm through Piet Mondrian's unique approach to understanding rhythm in the compositional structure of painting, drawing reference from philosophy, aesthetics, and Zen culture. Its innovation lies in its reappraisal of a forgotten definition of rhythm as 'stasis' or 'composition' which can be traced back to ancient Greek thought. This conception of rhythm, the book argues, can be demonstrated in terms of pictorial strategy, through analysis of East Asian painting and calligraphy with which Greek (...) thought on rhythm has identifiable commonalities. The book demonstrates how these ideas about rhythm draw together various threads of intellectual development in the visual arts that cross disparate aesthetic cultural practices. As an icon of early 20th Century Modernism, Mondrian's neoplasticism is a serious painterly and philosophical achievement. In his painting, Mondrian was deeply influenced by Theosophy, which took its influence from Eastern aesthetics; particularly East Asian and Indian thought. However, Mondrian's approach to visual rhythm was so idiosyncratic that his contribution to studies of visual rhythm is often under-recognized. This volume shows that a close inspection of Mondrian's own writing, thinking and painting has much to tell scholars about how to understand a long forgotten aspect of visual rhythm. Rodin's famous criticism of photography ("athlete-in-motion is forever frozen") can be applied to Muybridge's zoopraxiscope, the Futurists' rendition of stroboscopic images, and Duchamp's "Nude Descending a Staircase." Through a comparative study between Mondrian's painting and these seminal works, this volume initiates a new convention for the cognition of the surface of painting as visual rhythm. "Mondrian's simultaneous emphasis on the static and the rhythmic is hardly fodder for a publicist. Eiichi Tosaki has taken on the challenge of elucidating Mondrian's theories of rhythm, and particularly his conception of "static" rhythm. The result is a tour de force that will forever alter the reader's encounter with the works of Mondrian." Prof. Kathleen Higgins. (shrink)

It has been proved that total generalized variation can better preserve edges while suppressing staircase effect. In this paper, we propose an effective hybrid regularization model based on second-order TGV and wavelet frame. The proposed model inherits the advantages of TGV regularization and wavelet frame regularization, can eliminate staircase effect while protecting the sharp edge, and simultaneously has good capability of sparsely estimating the piecewise smooth functions. The alternative direction method of multiplier is employed to solve the new (...) model. Numerical results show that our proposed model can preserve more details and get higher image visual quality than some current state-of-the-art methods. (shrink)

The essential idea of Leibniz’s Theodicy was little understood in his time but has become one of the organizing themes of modern mathematics. There are many phenomena that are possible locally but for purely mathematical reasons impossible globally. For example, it is possible to build a spiral staircase that is rising at any given point, but it is impossible to build one that is rising at all points and comes back to where it started. The necessity is mathematically provable, (...) so not subject to exception by divine power. Leibniz’s Theodicy argues that God could improve the universe locally in many ways, but not globally. This paper defends Leibniz, giving positive reasons for believing that there are so many necessary interconnections between goods and evils that God is faced with a choice like the classic Trolley case, where all of the scenarios that could be chosen upfront contain evils, but some more than others. Local changes for the better seem easy to imagine, but a proper understanding of global constraints undermines the initial impression that they can be done without global cost. The paper concludes by explaining how the context of the Leibnizian argument makes it reasonable to pursue the issue of whether there are no worlds better than this one. (shrink)

The architectural study of four multi-purpose rooms in the Quartier du Théâtre at Delos This article comprises the architectural study of four rooms of commercial purpose in the Quartier du Théâtre at Delos. These rooms are characteristic examples of a large category of commercial establishments, and their good state of conservation permits examining part of their fittings. It is in particular a question of the mezzanine and of the shop-front, which often includes a large bay and a second door accessing (...) a staircase leading to the upper storey. These elements are found in other rooms of this type at Delos, constituting one of the criteria for their identification, and enable a better understanding of their function. (shrink)

Divided beauty (Dresden, 1764) -- Little gods of the street (Munich-Berlin, 1828) -- Plebeian heaven (Paris, 1830) -- The poet of the new world (Boston, 1841-New York, 1855) -- The gymnasts of the impossible (Paris, 1879) -- The dance of light (Paris, Folies Bergère, 1893) -- The immobile theatre (Paris 1894-95) -- Decorative art as social art: temple, house, factory (Paris-London-Berlin) -- Master of surfaces (Paris, 1902) -- The temple staircase (Moscow-Dresden, 1912) -- The machine and its shadow (Hollywood, (...) 1916) -- The majesty of the moment (New York, 1921) -- Seeing things through things (Moscow, 1926) -- The cruel radiance of what is (Hale County, 1936-New York, 1941). (shrink)

To be ashamed of one's immorality—that is a step on the staircase at whose end one is also ashamed of one's morality. Friedrich Nietzsche.

Richard Jeffrey said that Newcomb’s Problem may be seen “as a rock on which... Bayesianism... must founder” and the problem has been almost universally conceived as reconciling the science-fictional features of the decision problem with a plausible causal analysis. Later, Jeffrey renounced his earlier position that accepted Newcomb problems as genuine decision problems, suggesting “Newcomb problems are like Escher’s famous staircase”. We may interpret this to mean that we know there can be no such thing, though we see no (...) local flaw in the puzzle. In this paper, I develop the critique of Slezak to show that Jeffrey’s analogy is apt for a puzzle whose logical features can be precisely articulated and I propose an easily realizable experiment that convincingly supports this analysis. I suggest that these real-life analogs of Newcomb’s Problem have diverted attention from the essential function of the science-fiction of a predicting demon. Following Eells, similarities with realistic problems such as Prisoner’s Dilemma and common cause cases have suggested that Newcomb’s Problem may be given a coherent description and realized in some way consistent with classical causation. However, the peculiarity of the apparent link between one’s choice and the previously determined contents of the second box is the central, defining feature of Newcomb’s Problem. I argue that the predictor may not be merely a fiction providing insufficient “extra information” as both McKay and Levi suggest. Rather, I suggest that the decision problem permits a precise specification revealing the source of the notorious perplexity. Notwithstanding efforts to rescue the coherence of Newcomb’s Problem and a classical causal account, a simulation of the decision problem establishes the correctness of my analysis and, thereby, hopefully ending the debate. (shrink)

What would happen if one morning you wake up clumsy, as if your sense of touch were unreliable, arbitrarily on and off? And what would this clumsiness look like if we could transfer it to the moral sense? The article expounds an interesting analogy between the sense of touch, loosely construed, and the moral sense: just as a sort of consistency is necessary for the sense of touch to do its job, so it is for the moral sense to play (...) its part. Touch enables us to navigate the everyday world of coffee pots and staircases; our moral sensibility comes into play when we act or when we judge our actions and those of others, and plays a directive role in what we feel, how we feel it, and how we react to it. Taking the analogy further, I will suggest that inconsistency causes, in both cases, a certain clumsiness, and that clumsiness is linked to arbitrariness – like the person that helps others in dire need, but only does so on some rainy days. (shrink)

The dramatic nature of Plato’s dialogues is delightfully evident in the Symposium. The marriage between character and thought bursts forth as the guests gather at Agathon’s house to celebrate the success of his first tragedy. With wit and insight, they each present their ideas about love—from Erixymachus’s scientific naturalism to Aristophanes’ comic fantasy. The unexpected arrival of Alcibiades breaks the spell cast by Diotima’s ethereal climb up the staircase of love to beauty itself. Ecstasy and intoxication clash as Plato (...) concludes with one of his most skillful displays of dialectic. (shrink)

‘The Unity of the Proposition’ is a label for a problem which has intermittently intrigued philosophers but which for much of the last century lay neglected in the sad, lightless room under the stairs of philosophical progress, along with other casualties and bugaboos of early analytic philosophy such as the doctrine of internal relations, the identity theory of truth, and Harold Joachim. Yet it was while struggling with this problem (among others), that Bertrand Russell built one of the first steps (...) on the staircase by creating what came later to be called the theory of descriptions.1 According to that theory, statements containing definite descriptions are true only if there exists a unique thing satisfying the description. So nothing one says about ‘The Problem of the Unity of the Proposition’, for example, can be true unless there is one and only one such problem. Yet, as we shall explain below (§1), on the one hand it is unclear that there is any such problem at all, while, on the other, if there is a problem, there seem to be several. One might conclude, then, that everything we say in this paper is likely to be false. But perhaps the paper could be, in the context, appropriately treated as a ladder, to be kicked away after climbing. For Wittgenstein, too, was concerned with the problem: ‘At the centre of Wittgenstein’s project was the task of explaining the unity of the proposition’, says Michael Potter, for example.2 Wittgenstein had inherited the task from two of his philosophical mentors, Russell and Frege. Yet while Russell’s series of failed accounts of propositions, and then judgments, each of which was meant to resolve the problem, seemed ultimately to serve only as a sort of negative inspiration for him,3 Frege’s response to the problem proved a deep influence. We will outline Frege’s position as a backdrop to Wittgenstein’s below (§§2 and 3). As we will argue, one of the most important ways in which Wittgenstein’s position resembles Frege’s is precisely that his (Wittgenstein’s) solution to the problem of unity required treating his own book as an attempt to say the unsayable.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Children's Perspectives:A Model of Aesthetic Processing in TheatreJeanne Klein (bio)Since the children's theatre movement began, producers have sought to create artistic theatre experiences that best correspond to the adult-constructed aesthetic "needs" of young audiences by categorizing common differences according to age groups. For decades, directors simply chose plays on the basis of dramatic genres (e.g., fairy tales), as defined by children's presupposed interests or "tastes," by subscribing to (...) Winifred Ward's broad descriptions of the "imaginative period" (ages six to nine), the "heroic period" (ages nine to twelve), and the "romantic period" (over age thirteen).1 Years later, Moses Goldberg elaborated upon these generalized divisions while cautioning that "no individual fits exactly into any set of categories."2 In his position paper on aesthetic development, he argued for individual access to aesthetic techniques, processes, and products for all ages, paralleled by four stages of cognitive capabilities, based on exposure to (1) arena-style participation theatre (for ages five to eight), which emphasizes story enactments; (2) a wide range of proscenium-style theatrical conventions; (3) relevant play content that directly relates characters' problems to spectators' lives and growing self-awareness; and (4) social issue plays that pose ethical dilemmas as cultural reflections.3 Meanwhile, Jed Davis compiled Age Group Profiles, organized by cognitive, spatial, emotional, and moral/ethical development, from his review of Piagetian literature; and Johnny Saldaña summarized stages of young interpretations of theatre from his seven-year longitudinal study.4Suffice it to say, the field of developmental psychology has come a long way since Piaget formulated his four constructivist stages. Since the mid-1950s, the cognitive revolution has spurred more integrated theories of information processing and depth-of-processing models that explain and predict how people construct schematic frameworks of knowledge and [End Page 40] assimilate and accommodate new information as a function of perception, attention, emotion, comprehension, memory, and social and moral behaviors. Although masculinist metaphors of hierarchical "staircases" and linear networks of associative learning still dominate computational models, feminist perspectives, which engender social cognitive, co-relational negotiations of narratives in situated contexts, have gained more widespread acceptance—by including theatre as an apt metaphor for development.5 Over the past twenty years or more, cognitive psychologists have finally discovered what dramatic theorists have known about narrative structures since Aristotle's Poetics: Powerful stories contain universal themes about the human condition through characters' conflicting actions. The most successful dramas are those that allow spectators to enter into a protagonist's psychological consciousness or "inner" vision in order to empathize with her "outer" reality.6While several developmental models of aesthetic understanding, experience, and appreciation exist in the realms of visual art and music education, few examples have been proposed in regard to theatre, particularly for child audiences.7 Instead, producers of Theatre for Young Audiences (TYA) tend to romanticize its social and moral "effects" upon youth by believing passionately that viewing one remarkable performance has the potential (the operative word) to "cause" positive, social changes in children's minds, hearts, and behaviors, given the presumed "power of human imagination."8 This obsession with progressive change foregrounds adults' desires to control human destiny by predicting "causes and effects" located in children's responses to live performances. However, this "folk theory" fails to explain how young imaginations actually function aesthetically from the contextual evidence of reception studies with child audiences. Just as feminists have argued for a distinctive "feminist aesthetics," based on women's alternative ways of knowing,9 I argue that children gaze upon theatre in differential ways by including age as a variable factor. "Children's aesthetics," their perceived interpretations of theatre, differ from that of adults' theorized postulations, based in part on their shorter life experiences with this medium. To this end, over the course of my career, I have sought to understand theatre from children's perspectives by focusing my research in the social cognitive theories and social science methods of child development, primarily through the vast literature of television and mass media studies conducted with young people over the past forty years. In particular, medium-specific studies that parse theatrical forms from dramatic content... (shrink)

Safe stair negotiation is an everyday task that children with developmental coordination disorder are commonly thought to struggle with. Yet, there is currently a paucity of research supporting these claims. We investigated the visuomotor control strategies underpinning stair negotiation in children with and without DCD by measuring kinematics, gaze behavior and state anxiety as they ascended and descended a staircase. A questionnaire was administered to determine parents' confidence in their child's ability to safely navigate stairs and their child's fall (...) history. Kinematics were measured using three-dimensional motion capture, whilst gaze was measured using mobile eye-tracking equipment. The parents of DCD children reported significantly lower confidence in their child's ability to maintain balance on the stairs and significantly more stair-related falls in the previous year compared to the parents of typically developing children. During both stair ascent and stair descent, the children with DCD took longer to ascend/descend the staircase and displayed greater handrail use, reflecting a more cautious stair negotiation strategy. No differences were observed between groups in their margin of stability, but the DCD children exhibited significantly greater variability in their foot-clearances over the step edge, which may increase the risk of a fall. For stair descent only, the DCD children reported significantly higher levels of state anxiety than the TD children and looked significantly further along the staircase during the initial entry phase, suggesting an anxiety-related response that may bias gaze toward the planning of future stepping actions over the accurate execution of an ongoing step. Taken together, our findings provide the first quantifiable evidence that safe stair negotiation is a significant challenge for children with DCD, and that this challenge is reflected by marked differences in their visuomotor control strategies and state anxiety levels. Whilst it is currently unclear whether these differences are contributing to the frequency of stair-related falls in children with DCD, our findings pave the way for future research to answer these important questions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 1.1 (2000) 121-128 [Access article in PDF] Where to Put Augustus? A Note on the Placement of the Prima Porta Statue Allan Klynne and Peter Liljenstolpe In all the learned discussions on ancient sculpture, few objects have generated as much literature as the statue of Augustus from Prima Porta. 1 While some studies manage to arrive at interesting conclusions regarding the Augustan artistic program, a (...) good many can be held to be examples of classical studies running amok.One subject to which many scholars have devoted much time and thought is the statue's original place of display, at the Villa of Livia. In a recent study published in this Journal, Jane Clark Reeder addressed this question once again, but her treatment of the archaeological record is not convincing, especially when it comes to speculations as to the placement of the statue in relation to the Imperial laurel grove. 2 Our doubts are based on our firsthand experience of the site and on new finds made during the current excavations. We wish primarily to revert to two points: (1) the relevance of the findspot for the original placement of the statue and (2) the laurel grove's connection with the planting pots--the so-called ollae perforatae--found at the villa and its assumed relation to the statue. An alternative location of the statue, which is in better accordance with the archaeological evidence, can now be suggested.According to the ancient sources, the villa ad Gallinas, situated in the vicinity of the ninth milestone along the Via Flaminia, had a laurel grove which had sprung from a branch carried by a white pullet that was dropped into the lap of the young Livia Drusilla by an eagle. 3 Shortly before the death of Nero, the whole grove withered away and the sacred offspring of the original hen died off, thus becoming a portent of the end of the Iulio-Claudian dynasty. 4 Since the discovery in [End Page 121] 1863 of a magnificent villa on the hill above the so-called Prima Porta--an arch of late Imperial date--the location of this famous residence seems to be established. The remaining architectural structures lay abandoned and unprotected until 1982, when the Soprintendenza Archeologica di Roma reopened the excavation and restored the site. 5 Excavations are still being conducted under the direction of Gaetano Messineo, most recently in collaboration with the Swedish Institute at Rome, in order to gain a better idea of the nature of the Imperial gardens. 6In her discussion of the foundation augurium of the grove, the symbolic power of the laurel, and the archaeological evidence in the form of planting pots found at the site, Reeder tries to narrow down the exact findspot of the statue of Augustus (and indirectly its original placement), but her reasoning becomes somewhat tangled. Put very briefly, her argument is as follows. The statue is to be seen in connection with the triumphal ceremony. Augustus' hand (either the left or the right one) therefore most probably held a laurel, which could only have come from the grove at the villa. 7 This in its turn is confirmed by the planting pots found on the edge of the hill, close to the underground complex where the statue (supposedly) was found. Hence the statue would have stood in a grove on the southwestern part of the hill. This argument is neat but far from unobjectionable.Let us begin with the statue. Its exact findspot is not known, and since no base has been found its original position is still a puzzle. Pollini has recently scrutinized this problem. 8 Reeder places great confidence in Landi's plan of the underground complex, published in 1891 and reproduced in Calci and Messineo 1984. 9 This plan was drawn some [End Page 122] twenty-five years after the first excavation, in order to document the complex at that time. According to the drawing, the statue was found at the bottom of the staircase leading to the... (shrink)

This article focuses on feelings of anxiety among radical young Muslims, not just as a result of radicalism and terrorism but rather as an important cause of both. In contrast to many other publications which mainly deal with the radicalization of Muslim youths without taking into account their personal experience, the feelings of fear and anxiety expressed by radical young Muslims are central to this research. On the basis of an ongoing case study of 23 young Muslims who have participated (...) in a lengthy de-radicalization program in Amsterdam since 2009, an attempt has been made to gain insight into the interaction between radicalization processes and feelings of anxiety among this target group. The case study suggests that the three forms of anxiety expressed by radical Muslim youths, namely, (1) fear of victimization, (2) fear caused by guilt feelings, and (3) fear of being controlled by hatred and revenge, are related to the three phases presented in the “staircase model to terrorism.” This research into the various forms of anxiety experienced by radical young Muslims provides a concrete starting point for the de-radicalization process. (shrink)

Previous research found that application of eyeshadow on the upper eyelids induces overestimation of eye size. The present study examined whether this eyeshadow illusion is dependent on or independent of viewpoint. We created a three-dimensional model of a female face and manipulated the presence/absence of eyeshadow and face orientation around the axis of yaw (Experiment 1) or pitch (Experiment 2) rotation. Using the staircase method, we measured perceived eye size for each face stimulus. Results showed that the eyeshadow illusion (...) occurred regardless of face orientation around axes of both yaw and pitch rotations. Crucially, the illusion’s magnitude did not vary across face orientations; lack of interaction between the illusion’s magnitude and face orientation was confirmed by small values of Bayes factors. These findings ruled out the hypothesis that eyeshadow serves as a depth cue and leads to overestimation of eye size due to size-distance scaling. Alternatively, the present findings suggest that the eyeshadow illusion can be well explained by the assimilation between the eyes and eyeshadow, which also facilitates assimilation between the eyes and eyebrows. Practical implications and the present findings’ generalizability are also discussed. (shrink)

Auditory feedback perturbation studies have indicated a link between feedback and feedforward mechanisms in speech production when participants compensate for applied shifts. In spectral perturbation studies, speakers with a higher perceptual auditory acuity typically compensate more than individuals with lower acuity. However, the reaction to feedback perturbation is unlikely to be merely a matter of perceptual acuity but also affected by the prediction and production of precise motor action. This interplay between prediction, perception, and motor execution seems to be crucial (...) for the timing of speech and non-speech motor actions. In this study, to examine the relationship between the responses to temporally perturbed auditory feedback and rhythmic abilities, we tested 45 adult speakers on the one hand with a temporal auditory feedback perturbation paradigm, and on the other hand with rhythm perception and production tasks. The perturbation tasks temporally stretched and compressed segments (onset + vowel or vowel + coda) in fluent speech in real-time. This technique sheds light on the temporal representation and the production flexibility of timing mechanisms in fluent speech with respect to the structure of the syllable. The perception tasks contained staircase paradigms capturing duration discrimination abilities and beat-alignment judgments. The rhythm production tasks consisted of finger tapping tasks taken from the BAASTA tapping battery and additional speech tapping tasks. We found that both auditory acuity and motor stability in finger tapping affected responses to temporal auditory feedback perturbation. In general, speakers with higher auditory acuity and higher motor variability compensated more. However, we observed a different weighting of auditory acuity and motor stability dependent on the prosodic structure of the perturbed sequence and the nature of the response as purely online or adaptive. These findings shed light on the interplay of phonological structure with feedback and feedforward integration for timing mechanisms in speech. (shrink)

A number of recent studies have documented rapid changes in behavioural sensory acuity induced by aversive learning in the olfactory and auditory modalities. The effect of aversive learning on the discrimination of low-level features in the visual system of humans remains unclear. Here, we used a psychophysical staircase procedure to estimate discrimination thresholds for oriented grating stimuli, before and after differential aversive learning. We discovered that when a target grating orientation was conditioned with an aversive loud noise, it subsequently (...) led to an improvement of discrimination acuity in nearly all subjects. However, no such change was observed in a control group conditioned to an orientation shifted by ±90° from the target. Our findings cannot be explained by contextual learning or sensitisation factors. The results converge with those reported in the olfactory modality and provide further evidence that early sensory systems can be rapidly modified by recently experienced reinforcement histories. (shrink)

In a continuum of past and present, "Pittsburgh Then and Now" portrays the city through 161 pairs of matching photographs. Each archival image, culled from old books, municipal records, and library collections, was rephotographed in 1986-89 from the same camera position, forming an evocation of the past and a record of urban continuity and change. "Pittsburgh Then and Now" recalls specific locations in the city of the past and then compares them to the present, showing both how much and how (...) little Pittsburgh has changed. Most of the pairs of photographs illustrate continuity with the past, features that have remained over the decades. A steep residential street in Perry Hilltop, for example, is little changed, and a jagged hillside staircase on the South Side is still in use. Other images document urban change. Massive Duquesne Gardens, on Craig Street in Oakland, is shown alongside the University Square Apartments of the present. The old Loew's Penn Theatre on Sixth Street in 1935 is copared to its modern manifestation as Heinz hall, 1987. The pre-Renaissance cornor of Stanwyx Street and Penn Avenue is recalled before the Gateway buildings were constructed.This journey into the past shows how change and continuity have mingled in the city landscape, reveling Pittsburgh as it has evolved from architecutral styles that reflected turn-of-the-century eclecticism to the more recent styles labeled "modernist" and "postmodernist, " from horse to streetcar to automobile, and from steel mills to high-technology centers. "Pittsburgh Then and Now" is a treasury of photographic images for those who remember the old Pittsburgh, those who are curious about its past, and anyoneinterested in the evolution of a city. (shrink)

By definition, metacognitive processes may monitor or regulate various stages of first-order processing. By combining causal analysis with hypotheses expressed by other authors we derive the theoretical and methodological consequences of this special relation between metacognition and the underlying processes. In particular, we prove that because multiple processing stages may be monitored or regulated and because metacognition may form latent feedback loops, (1) without strong additional causal assumptions, typical measures of metacognitive monitoring or regulation are confounded; (2) without strong additional (...) causal assumptions, typical methods of controlling for first-order task performance (i.e., calibration, staircase, including first-order task performance in a regression analysis, or analyzing correct and incorrect trials separately) not only do not deconfound measures of metacognition but may even introduce bias; (3) that the first two problems cannot be solved by using simple models of decision-making derived from Signal Detection Theory. We conclude the paper by advocating robust methods of discovering properties of latent mechanisms. (shrink)

This essay probes into the possibility of encountering the Deleuzian sense-event in four Tom Stoppard radio plays, Moon (1964), Boot (1964), Glad (1966) and Artist Descending A Staircase (1972). Itself an incorporeal – an occurrence of the interface – the wonderful and strange protagonist of Gilles Deleuze's 1969 Logic of Sense is approached in apophatic gestures, with a glimpse at the various vestiges it has left upon texts. Within this exercise in indirection, ‘empty forms’ present themselves as the texts’ (...) circulating words. Informed by and receiving infusions from two parallel flows of Deleuzian signifiers and signifieds, these entities are singled out as the texts’ pointers that open up a cleavage where the sense-event can issue forth. (shrink)

ISBN 978-5-86007-556-6. (in Russian). -/- In the book we can find the analysis of some closely related problems – of the origin and essence of life, the universal world process and the global evolution. Examination of fractal nature of carriers through the distribution of terrestrial and space objects on the steps of scale staircase, depending on the masses and sizes, shows an appropriate relationship with the masses and sizes of live organisms. One of the conclusions is the complementarity of (...) living and nonliving carriers in universe, and the main difference between a living from nonliving matter is an independent source of ordering inherent in living forms and managing all of its reactions. Tables 9. Fig. 11. Ref. 60 titles. (shrink)

I think in images. Poems help me to do this.1 In the Beginning was a major exhibition of Anselm Kiefer’s work at the Bundeskunsthalle in Bonn in 2012. The exhibition included, among other works, several large-scale lead book sculptures, and featured Bavel Balal Mabul,2 an installation filling an entire room and bringing together many of Kiefer’s key themes: mythology, memory, and history; apocalypse, regeneration, and transformation. It shows the tower of Babel in the shape of a spiral staircase-like structure, (...) spanning from floor to ceiling. Tumbling down the metal stairs are picture rolls that gather at the bottom of the tower like the wastage on the cutting room floor of.. (shrink)

The eme r gence of the concept of pr o g ress is cu r rent l y associated with th e Enlightenment o r , going som e w hat further back, with the que r elle des anciens et des modernes in the 1 7 t h centu r y . Y et the notion of pr o g ress can be traced back to a signi f icant l y earlier period: the foundations of a possi b (...) le Christian pr o g ress i vism w ere, in m y opinion, laid b y St. Augustine; this ess a y e xplores its guidelines. J . G. Herde r ' s reaction a g ainst the notion of pr o g ress proposed b y the Enlightenment possesses also a Christian inspiration. While Enlightened pr o g ress i vism conce i v es past cultures as o v ercoming steps in a rising staircase, Herde r , in turn, claims that each of them amounted to a "self-centered sphere" and w as therefore v alua b le in its o wn right. The sense of the e xistence of past generations cannot lie in p a ving the w a y for future ful f illment as this w ould be incompati b le with d i vine l o v e, w hich estimates each of its creatures in its o wn right, as an unrepeata b le ind i vidual. In contrast to Enlightened a r r o g ance (contempt for the "obscurantist" past), Herder presents a "democratic" vi e w of History within w hich all epochs h a v e the same v alue. (shrink)

Since at least the mid-1980s claims have been made for rationality in rats. For example, that rats are capable of inferential reasoning (Blaisdell, Sawa, Leising, & Waldmann, 2006; Bunsey & Eichenbaum, 1996), or that they can make adaptive decisions about future behavior (Foote & Crystal, 2007), or that they are capable of knowledge in propositional-like form (Dickinson, 1985). The stakes are rather high, because these capacities imply concept possession and on some views (e.g., Rödl, 2007; Savanah, 2012) rationality indicates self-consciousness. (...) I evaluate the case for rat rationality by analyzing 5 key research paradigms: spatial navigation, metacognition, transitive inference, causal reasoning, and goal orientation. I conclude that the observed behaviors need not imply rationality by the subjects. Rather, the behavior can be accounted for by noncognitive processes such as hard-wired species typical predispositions or associative learning or (nonconceptual) affordance detection. These mechanisms do not necessarily require or implicate the capacity for rationality. As such there is as yet insufficient evidence that rats can reason. I end by proposing the ‘Staircase Test,’ an experiment designed to provide convincing evidence of rationality in rats. (shrink)

Using Judith Butler's notion that bodies are materialized via performances, “resig-nifying” disability involves a “democratizing contestation” of staircases because they exclude those in wheelchairs. Paleoanthropologist Maxine Sheets-Johnstone shows how consistent bipedal locomotion, together with the knowledge that we will die, are ingredients of our pan-hominid speciation, not contingent constructions. As axiologically important as contestation is, it forecloses the possibility of achieving a mutuality with others that is wonderfully possible.

Pain perception is influenced by several factors, and among them, affect, sex, and perception of bodily signals are assumed to play a prominent role. The aim of the present study is to explore how sex, cardiac interoceptive accuracy, and the interaction of the latter two influence the perception of experimentally induced pain. We investigated a large sample of young adults (n= 159, 50.9% female, age: 23.45, SD = 3.767), assessing current positive and negative affective state with the Positive and Negative (...) Affect Schedule (both involved as control variables), cardiac interoceptive accuracy with the mental heartbeat tracking task, and pain sensitivity with electrical stimulation on the back of the dominant hand, applying a repeated-measures staircase protocol. Males showed a significantly higher pain threshold and tolerance level than females, whereas cardiac interoceptive accuracy was not associated with pain sensitivity. The impact of sex × cardiac interoceptive accuracy interaction was significant for pain threshold only, while pain tolerance was predicted only by sex. According to these findings, the associations between pain sensitivity, cardiac IAc, and sex might be more complicated than it was supposed in previous studies. Interactions between factors impacting pain perception appear worthy of further investigation. (shrink)

Revised and expanded as (The Bedside Book of) "Paradoxes" (2013). Translated into multiple European languages, it has sold over 70,000 copies worldwide. 'If there is an exception to every rule, then every rule must have at least one exception - except this one.' Welcome to the world of the paradox - something that appears to be true and yet contradicts itself. From Galileo's Fan to the Cone of Democritus, and from the impossibility of motion to the infinite staircase, these (...) mind-bending thought experiments, optical illusions and logical deceptions are on of the most interesting and accessible facets of philosophy. This Book Does Not Exist will stretch your mind, put your neurons through their paces, and challenge the foundations of your knowledge and opinions. You'll discover that you can't even trust your own senses - even though they may be all you have. Filled with puzzles that have intrigued the greatest philosophers, this fascinating collection of insoluble logical paradoxes will give your intellect a workout that you can't help but enjoy. (shrink)

The dramatic nature of Plato’s dialogues is delightfully evident in the Symposium. The marriage between character and thought bursts forth as the guests gather at Agathon’s house to celebrate the success of his first tragedy. With wit and insight, they each present their ideas about love—from Erixymachus’s scientific naturalism to Aristophanes’ comic fantasy. The unexpected arrival of Alcibiades breaks the spell cast by Diotima’s ethereal climb up the staircase of love to beauty itself. Ecstasy and intoxication clash as Plato (...) concludes with one of his most skillful displays of dialectic. (shrink)

Among improvisers and composers today there is a resurgence of interest in experimental music (EM) practices that welcome contingency; engaging with unforeseen circumstances as an essential component of the music-making process, and a means to sonic discovery. I propose theExperimental Composition Improvisation Continua(ECIC) as a model with which to better understand these experimental musical works. The historical Experimental Music movement of the 1950s and 60s is briefly revisited, and the jazz tradition included as an essential protagonist; both being important historical (...) movements leading to the formulation of ideas around contingent musical practices. The ECIC model is outlined as providing a means to observe the interactions and continua between composition and improvisation on the one hand and more or less experimentally conceived music on the other. This model is applied as an investigative and comparative tool to three distinctive works in order to illuminate the presence or otherwise of various experimental interactions within them. The works are: “Spiral Staircase” – a composition by written by Satoko Fujii in late 2007, John Cage’s4′33″, and a performance of “My Favorite Things” by the John Coltrane Quartet. Further possible applications of the ECIC are suggested in the conclusion. (shrink)

It happened to me one day to say that Cartesianism, in what good it has, was only the anteroom of true philosophy. A person in the company, who frequented the court, was well read, and even had ideas about science, pressed the figure into an allegory-maybe a little too far. For, he asked me whether I didn’t think that one could say, along the same line, that the ancients led us up the staircase, that the modem school had arrived (...) at the guards’ room, and that, if the innovators of our century had managed to reach the anteroom, he wished me the honor of introducing us into Nature’s sanctum. This parallel made us all laugh, and I told him, “You see, Sir, your comparison has rejoiced the company. But you forgot that between the anteroom and the sanctum there is the audience chamber, and that it will be enough if we obtain audience, without purporting to penetrate in the inner sanctum”. (shrink)