In many fields of biology, both the phenomena to be explained and the mechanisms proposed to explain them are commonly presented in diagrams. Our interest is in how scientists construct such diagrams. Researchers begin with evidence, typically developed experimentally and presented in data graphs. To arrive at a robust diagram of the phenomenon or the mechanism, they must integrate a variety of data to construct a single, coherent representation. This process often begins as the researchers create a first sketch, and (...) it continues over an extended period as they revise the sketch until they arrive at a diagram they find acceptable. We illustrate this process by examining the sketches developed in the course of two research projects directed at understanding the generation of circadian rhythms in cyanobacteria. One identified a new aspect of the phenomenon itself, whereas the other aimed to develop a new mechanistic account. In both cases, the research resulted in a paper in which the conclusion was presented in a diagram that the authors deemed adequate to convey it. These diagrams violate some of the normative “cognitive design principles” advanced by cognitive scientists as constraints on successful visual communication. We suggest that scientists’ sketching is instead governed by norms of success that are broadly explanatory: conveying the phenomenon or mechanism. (shrink)

Research from cognitive science and geoscience education has shown that sketching can improve spatial thinking skills and facilitate solving spatially complex problems. Yet sketching is rarely implemented in introductory geosciences courses, due to time needed to grade sketches and lack of materials that incorporate cognitive science research. Here, we report a design-centered, collaborative effort, between geoscientists, cognitive scientists, and artificial intelligence researchers, to characterize spatial learning challenges in geoscience and to design sketch activities that use a sketch-understanding program, CogSketch. (...) We developed 26 CogSketch worksheets that use cognitive science–based principles to scaffold problem solving of spatially complex geoscience problems and report observations of an implementation in an introductory geoscience course where students used CogSketch or human-graded paper worksheets. Overall, this research highlights the principles of interdisciplinary design between cognitive scientists, geoscientists, and AI researchers that can inform the collaborative design process for others aiming to develop effective educational materials. (shrink)

St. Thomas Aquinas envisaged theology to be a kind of scientia which was considered as a kind of first cause science. However, science of that time is different from “modern” science. Recently, a theory of scientific study is developed, which outlines science by a theory and some models similar to knowledge in physics. According to this theory, sciences organize their knowledge consisting of theories, models and experiments interacting with physical situations. Perhaps, it is possible to organize knowledge of Christian theology (...) in a similar way as science (from the perspective of Christian belief). Doing this requires extensive and deep knowledge of both science and Christian theology. This paper only attempts to sketch such a theology, which is coined scientia theology to distinguish it from the existing scientific theology of McGrath. Our theology consists of a theory that is outlined here, several historical event models as well as various experiments that provide us with observations supporting the related models and principles. The theory of our theology interacts with the models which may retrodict or are supported by observations from the experiments that interact with the physical situations. (shrink)

Finitary sketches, i.e., sketches with finite-limit and finite-colimit specifications, are proved to be as strong as geometric sketches, i.e., sketches with finite-limit and arbitrary colimit specifications. Categories sketchable by such sketches are fully characterized in the infinitary first-order logic: they are axiomatizable by σ-coherent theories, i.e., basic theories using finite conjunctions, countable disjunctions, and finite quantifications. The latter result is absolute; the equivalence of geometric and finitary sketches requires (in fact, is equivalent to) the (...) non-existence of measurable cardinals. (shrink)

In this article I attempt to sketch out what we might call an axiology of contingency, namely the study of the value of contingency. The triadic structure of the article follows the paraphrased epigraph from the Gospel of St John, where the word “word” is replaced with “contingency.” Although I play on the words of John in a Hegelian spirit, what is outlined here is an – admittedly brief – attempt to understand contingency as Begriff.

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized (...) by two stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Dreaming as lived experience qualifies as intentional life, despite its strangeness. Yet the dream-phenomena themselves receive little direct clarification consistent with Edmund Husserl's major work on conscious intentionality. With fundamental accomplishments of Husserlian phenomenology in play, how could a study of these neglected appearances begin? First it is necessary to describe the essential relevant Husserlian concepts. From Husserl's descriptions in his phenomenological psychology, his analysis of internal time-consciousness, and his theory of wholes and parts in Logical Investigations, the sense of (...) intentionality as a streaming indivisible nexus, a double continuity of inseparable wholeness, becomes evident. Immersed in this self-awareness, we do not find it difficult to access dream-appearances and account for their connection in intentional life. A claim can be made for their presentational objectivity as well as for their "gnomonic" subjectivity. A systematic sketch of their typology or fundamental structure is thus possible without reducing dream-intentionality to something other than itself. Hence, a Husserlian sense of conscious lived experience is first presented. Dream evidence is then considered, despite possible bewilderment, in order to provide a clue to an extended sense of both subjectivity and objectivity. Lines toward a development of dream typicality are thereby indicated. (shrink)

"A driving force in all Sartre's writing is his serious desire to change the life of his reader." -- Iris Murdoch.

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized (...) by two stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Sketches of Democracy is a captivating book that chronicles the first year in the life of a new urban high school. Based on journal entries and educational literature, this book traces the author’s challenging journey toward creating a democratic community of learners within a tangle of socio-economic and political issues. An experienced public school teacher and university educator, DeLorenzo brings a unique perspective to the teaching/learning process. Her poignant anecdotal stories, along with information from authoritative sources, provide a narrative (...) that is deeply reflective and affecting. This book is a must-read for teachers, teacher candidates, and teacher educators who share a passion for teaching those on the margins of society. (shrink)

Purpose: In the forthcoming book Partial Memories, Ernst von Glasersfeld presents a chronological patchwork of autobiographical memories. Constructivist Foundations selected six of the 92 sketches to provide a preview of this book. Content: The selected sketches cover the 1930s, when von Glasersfeld became interested in epistemology, and the 1970s, when he found experimental and argumentative support for his radical constructivism. Implications: The colorful life of von Glasersfeld gives an impression of how many turns it has taken him to (...) construct his insights. (shrink)

Selon Léonard de Vinci, le peintre doit « se mettre à la place de l’esprit même de la nature », entendue comme genèse perpétuelle, force vitale et métamorphique. Dans sa démesure, un tel projet fascine autant qu’il terrifie. Pour répondre à ce défi, Léonard renouvelle profondément l’art de la peinture jusqu’à en faire, en théorie comme en pratique, un exercice sans cesse recommencé. Les notes et préceptes du Traité de peinture comme les techniques qu’il invente (ou réinvente) en témoignent – (...) chiaroscuro, sfumato, perspective aérienne, componimento inculto [esquisse informe ou sauvage], etc. À la jonction de la main et de l’esprit, l’exercice de peindre sollicite une ascèse perceptive et imaginative, à travers le jugement, le regard (« jugement de l’œil », giudizio dell’occhio), porté sur le monde et ses formes mouvantes. Ascèse, au sens fort d’un désapprentissage permettant de détisser les rets de l’habitude et les tropismes subjectifs. Cet exercice opère non seulement le crayon à la main, par le déploiement de l’esquisse et la fécondité du repentir [pentimento], mais, dans un plus grand dénuement encore, en regardant « des murs souillés de beaucoup de taches », « avec l’idée d’imaginer quelque scène » – « incitation à la rêverie éveillée » comme l’appelle André Chastel. Dès lors l’exercice de peindre (ou la peinture comme exercice) prend chez Léonard une tournure très étonnante et singulière : tout en privilégiant la dimension processuelle de l’œuvre, il s’agit de faire, pour ainsi dire, de la peinture sans pigment ni pinceau. Autrement dit, la prétention cosmique du peintre n’a d’égale que son aptitude au dénuement. (shrink)

Sketching as a scientific practice goes beyond the simple act of inscribing diagrams onto paper. Scientists produce a wide range of representations through sketching, as it is tightly coupled to model-based reasoning. Chemists in particular make extensive use of sketches to reason about chemical phenomena and to communicate their ideas. However, the chemical sciences have a unique problem in that chemists deal with the unseen world of the atomic-molecular level. Using sketches, chemists strive to develop causal mechanisms that (...) emerge from the structure and behavior of molecular-level entities, to explain observations of the macroscopic visible world. Interpreting these representations and constructing sketches of molecular-level processes is a crucial component of student learning in the modern chemistry classroom. Sketches also serve as an important component of assessment in the chemistry classroom as student sketches give insight into developing mental models, which allows instructors to observe how students are thinking about a process. In this paper we discuss how sketching can be used to promote such model-based reasoning in chemistry and discuss two case studies of curricular projects, CLUE and The Connected Chemistry Curriculum, that have demonstrated a benefit of this approach. We show how sketching activities can be centrally integrated into classroom norms to promote model-based reasoning both with and without component visualizations. Importantly, each of these projects deploys sketching in support of other types of inquiry activities, such as making predictions or depicting models to support a claim; sketching is not an isolated activity but is used as a tool to support model-based reasoning in the discipline. (shrink)

This paper explores the visual construction and representation of co-accused women offenders in court drawings. It utilises three case studies of female co-defendants who appeared in the England and Wales court system between 2003 and 2013. In doing so this paper falls into three parts. The first part considers the emergence of the sub-discipline, visual criminology and examines what is known about the visual representation of female offenders. The second part presents the findings of an empirical investigation, which involved engaging (...) in a critical, reflexive visual analysis of a selection of court drawings of three female co-offenders. The third part discusses the ways in which the court artists' interpretation, the conventions of court sketching, and motifs of female offenders as secondary actors, drew on existing myths and prejudices by representing the women as listening, remorseless ‘others’. (shrink)

Science, technology, engineering, and mathematics disciplines commonly illustrate 3D relationships in diagrams, yet these are often challenging for students. Failing to understand diagrams can hinder success in STEM because scientific practice requires understanding and creating diagrammatic representations. We explore a new approach to improving student understanding of diagrams that convey 3D relations that is based on students generating their own predictive diagrams. Participants’ comprehension of 3D spatial diagrams was measured in a pre- and post-design where students selected the correct 2D (...) slice through 3D geologic block diagrams. Generating sketches that predicated the internal structure of a model led to greater improvement in diagram understanding than visualizing the interior of the model without sketching, or sketching the model without attempting to predict unseen spatial relations. In addition, we found a positive correlation between sketched diagram accuracy and improvement on the diagram comprehension measure. Results suggest that generating a predictive diagram facilitates students’ abilities to make inferences about spatial relationships in diagrams. Implications for use of sketching in supporting STEM learning are discussed. (shrink)

This chapter summarizes some of the main biographical facts about Noam Chomsky's life. It is impossible to do full justice to the milieux that have influenced Chomsky and that he has shaped in such in a short sketch. Chomsky was becoming intensely interested in politics. He was affected by international events, particularly the Spanish civil war. At the age of 10, he wrote his first article, an editorial for his school newspaper on the fall of Republican Barcelona to Franco's forces. (...) In 1945, at the age of 16, Chomsky enrolled at the University of Pennsylvania, paying for his education by teaching Hebrew in the evenings and on Sundays. Chomsky was awarded his PhD from the University of Pennsylvania in 1955, based on only one chapter of his thesis, a roughly 500‐page manuscript that came to be widely circulated in mimeograph, The Logical Structure of Linguistic Theory. (shrink)

Sketching is a powerful means of working out and communicating ideas. Sketch understanding involves a combination of visual, spatial, and conceptual knowledge and reasoning, which makes it both challenging to model and potentially illuminating for cognitive science. This paper describes CogSketch, an ongoing effort of the NSF-funded Spatial Intelligence and Learning Center, which is being developed both as a research instrument for cognitive science and as a platform for sketch-based educational software. We describe the idea of open-domain sketch understanding, the (...) scientific hypotheses underlying CogSketch, and provide an overview of the models it employs, illustrated by simulation studies and ongoing experiments in creating sketch-based educational software. (shrink)

This paper sketches one possible form that a pragmatist philosophy of science might take. It defends general philosophy of science, although not in the form it has traditionally taken, and along with this, a focus on methodology as a legitimate concern for philosophers of science. Connections are made between some classical pragmatist themes and issues in contemporary philosophy of science. My intention is to be provocative.

The goal of this study was to explore two accounts for why sketching during learning from text is helpful: sketching acts like other constructive strategies such as self-explanation because it helps learners to identify relevant information and generate inferences; or that in addition to these general effects, sketching has more specific benefits due to the pictorial representation that is constructed. Seventy-three seventh-graders were first taught how to either create sketches or self-explain while studying science texts. During a subsequent learning (...) phase, all students were asked to read an expository text about the greenhouse effect. Finally, they were asked to write down everything they remembered and then answer transfer questions. Strategy quality during learning was assessed as the number of key concepts that had either been sketched or mentioned in the self-explanations. The results showed that at an overall performance level there were only marginal group differences. However, a more in-depth analysis revealed that whereas no group differences emerged for students implementing either strategy poorly, the sketching group clearly outperformed the self-explanation group for students who applied the strategies with higher quality. Furthermore, higher sketching quality was strongly related to better learning outcomes. Thus, the study's results are more in line with the second account: Sketching can have a beneficial effect on learning above and beyond generating written explanations; at least, if well deployed. (shrink)

In this paper I look to develop a defence of “presentist temporal passage” that renders presentism immune from recent arguments due to Eric Olson. During the course of the paper, I also offer comment on a recent reply to Olson’s argument due to Ian Phillips. I argue that it is not clear that Phillips’ arguments succeed.

In this paper I sketch an account of moral blame and blameworthiness. I begin by clarifying what I take blame to be and explaining how blameworthiness is to be analyzed in terms of it. I then consider different accounts of the conditions of blameworthiness and, in the end, settle on one according to which a person is blameworthy for φ-ing just in case, in φ-ing, she violates one of a particular class of moral requirements governing the attitudes we bear, and (...) our mental orientation, toward people and other objects of significant moral worth. These requirements embody the moral stricture that we accord to these others a sufficient level of respect, one that their moral worth demands. This is a familiar theme which has its roots in P. F. Strawson’s pioneering views on moral responsibility. My development of it leads me to the conclusion that acting wrongly is not a condition of blameworthiness: violating a moral requirement to perform, or refrain from performing, an action is neither necessary nor sufficient for being blameworthy. All we are ever blameworthy for, I will argue, are certain aspects of our mental bearing toward others. We can be said to be blameworthy for our actions only derivatively, in the sense that those actions are the natural manifestations of the things for which we are strictly speaking blameworthy. (shrink)

(Supplement to Monty Python’s Australian Philosophers ‘Bruce’ Sketch, Occasioned by the large number of Australian philosophers called ‘Karen’) Dramatis Personae: KAREN 1 (Head of Department: rugged and decisive. Farm animals instinctively obey.) KAREN 2 (Hume Studies: tough lady cop from ‘Water Rats’.) KAREN 3 (Wittgenstein and Philosophy of Science: more aggressive – tough lady crime lord from ‘Water Rats’.) KAREN 4 (Practical Reasoning: Put upon - still fairly rugged but it is not an accident that she is the one who (...) often ends up mucking out the stables.) AISLING (Young woman with slight Irish accent tempered by some years at the ANU.). (shrink)

While nostalgia has been the subject of some philosophical treatment (especially in the phenomenological tradition), I think new findings in the psychological literature and new historical investigations call for a re-interrogation of this phenomenon. My argument is that philosophical reflection, as well as findings from empirical psychology, gives us strong reasons to think that: (1) Nostalgic experiences can be divided between typical nostalgic experiences that are positive and strengthen our sense of narrative identity by connecting us to an idealized past (...) that we have a sense that we have lived. These typical nostalgia experiences are affectively bittersweet (though more sweet than bitter) and, as psychological literature attests, seem to arise in the wake of a crisis—and from this crisis, nostalgia attempts to make us feel at home in the world again. (2) In contrast to typical forms of nostalgia, there are what I call atypical forms of nostalgia; in these cases, the experiences are often negative, and they connect us not to a past that we have lived but to one that we wished to have lived. This form of nostalgia leads not to a strengthening of narrative identity but a weakening of it, and a feeling of grief for the world in which we could not belong. (shrink)

This early work by Sydney Smith was originally published in 1854 and we are now republishing it with a brand new introductory biography. 'Elementary Sketches of Moral Philosophy' is a collection of lectures delivered by Smith at the Royal Institution in the years 1804, 1805, and 1806. Sydney Smith was born on 3rd June 1771 in Woodford, Essex, England. Smith's first book 'Six Sermons, preached in Charlotte Street Chapel, Edinburgh' was published in 1800. He married Catharine Amelia Pybus in (...) the same year and the couple settled in Edinburgh. While there, he helped set up the 'Edinburgh Review' and became its first editor in 1802. He continued to write articles for the review for the next quarter of the century which were a key element to the publication's success. (shrink)

Engineering sketches and drawings are the building blocks of technological design and production. These visual representations act as the means for organizing the design to production process, hence serving as a "social glue" both between individuals and between groups. The author discusses two main capacities such visual representations serve in facilitating distributed cognition in team design work As conscription devices, they enlist and organize group participation. As boundary objects, they facilitate the reading of alternative meanings by various groups involved (...) in the design process. The introduction of computer-aided design into this visual culture of engineering restructures relationships between workers in ways that can hamper the flexibility necessary for these crucial capacities to take place. The data are drawn from a study of the daily practices of engineers engaged in redesigning a turbine engine package. The method is participant observation. (shrink)

Charles Darwin's "Historical Sketch" has appeared as a preface to nearly every authorized edition of Darwin's Origin of Species since the second English edition was published in 1860. The "Historical Sketch" provides a brief history of opinion about the species question as a prelude to Darwin's own independent contribution to the subject, but its provenance is somewhat obscure. While some previous thinkers anticipated portions of Darwin's theory long before he did, none of them saw the complete picture as clearly as (...) Darwin. As such, he was able to claim originality and priority for the idea that has transformed our understanding of nature. His "Historical Sketch" was written as an attempt to address these issues. Some things are known about its production, such as when it first appeared and what changes were made to it between its first appearance in 1860 and its final form in 1866. Other questions remain unanswered. How did it evolve in Darwin's mind? Why did he write it at all? What did he think he was accomplishing by prefacing it to Origin of Species? Curtis Johnson approaches these questions, offering some clarity on the originality of Darwin's work. Darwin's "Historical Sketch" is the first comprehensive study of Darwin's "Preface" to Origin of Species. Johnson conveys the pressure Darwin felt from friends and other correspondents to showcase the originality of his theory, and he tackles questions of originality by carefully examining the 35 authors Darwin referenced in this monumental text. (shrink)

This essay treats the growth and development of Charles S. Peirce’s three categories, particularly studying the qualities of Peirce’s Firstness, a basic formula of “airy-nothingness” (CP: 6.455) serving as fragment to Secondness and Thirdness. The categories of feeling, willing, and knowing are not separate entities but work in interaction within the three interpretants. Interpretants are triadomaniac elements through the adopted, revised, or changed habits of belief. In works of art, the first glance of Firstness arouses the spontaneous responses of musement, (...) expressing emotions without the struggle and resistance of factual Secondness, and not yet involving logical Thirdness. The essential qualities of a loose or vague word, color, or sound give the fugitive meanings in Firstness. The flavor, brush, timbre, color, point, line, tone or touch of the First qualities of an aesthetic object is too small a base to build the logic of aesthetic judgment. The genesis art is explained by Peirce’s undegeneracy growing into group and individual interpretants and building into the passages and whole forms of double and single forms of degeneracy. The survey of the flash of Firstness is exemplified in a variety of artworks in language, music, sculpture, painting, and film. This analysis is a preliminary aid to further studies of primary Firstness in the arts. (shrink)

Philosophy of science has developed immensely over the last half century. Subspecializations focused on particular scientific disciplines as well as generalist turns towards naturalization, practice, and engagement, not to mention an increasing internationalization, have all contributed to changing the practices of how philosophy of science is produced, published, and received, and to changing the relations between philosophy, philosophy of science, and science itself. This contribution to the Festschrift compiled in honor of Professor Finn Collin provides a brief sketch of these (...) developments as seen through the prism of how Finn Collin as both a philosopher and a philosopher of science has contributed to these developments, nationally and internationally. (shrink)