There are some necessary conditions on causal relations that seem to be so trivial that they do not merit further inquiry. Many philosophers assume that the requirement that there could be no temporal gaps between causes and their effects is such a condition. Bertrand Russell disagrees. In this paper, an in-depth discussion of Russell’s argument against this necessary condition is the centerpiece of an analysis of what is at stake when one accepts or denies that there can be (...) class='Hi'>temporal gaps between causes and effects. It is argued that whether one accepts or denies this condition, one is implicated in taking on substantial and wide-ranging philosophical positions. Therefore, it is not a trivial necessary condition of causal relations and it merits further inquiry. (shrink)

Two variables are usually recognised as determinants of human causal learning: the contingency between a candidate cause and effect, and the temporal and/or spatial contiguity between them. A common finding is that reductions in temporal contiguity produce concomitant decrements in causal judgement. This finding had previously (Shanks & Dickinson, 1987) been interpreted as evidence that causal induction is based on associative learning processes. Buehner and May (2002, 2003, 2004) have challenged this notion by demonstrating that the (...) impact of temporal delay depends on expectations about the timeframe between cause and effect. A corollary of this knowledge-mediation account is that in certain situations longer delays could facilitate, while shorter delays should impair, causal learning. Here we present two experiments involving a physical apparatus that demonstrate a detrimental effect of contiguity under certain conditions. In contrast to all previous studies, delays universally promoted causal learning. This evidence is clearly at variance with the notion of a bottom-up contiguity bias in causal induction. A new, more general timeframe bias is discussed. (shrink)

Hume notoriously maintains that contiguity, succession, and constant conjunction are individually necessary and jointly sufficient conditions of causation. While his arguments for the necessity of constant conjunction have been thoroughly dissected, his arguments for contiguity and succession have generally been either ignored or misstated. I hope both to correct this unfortunate state of affairs and to show some fatal defects in Hume's account.The pertinent passages in Hume's writings acknowledge three conceivable ways in which the temporal relation between (...) causes and effects might be construed: as separated by some interval; as perfectly contiguous, so that the effect succeeds the cause in the very next moment; as perfectly contemporaneous, existing at the same moment. Hume defends the correctness of and denies the tenability of both and. (shrink)

Despite the salient experience of encoding threatening events, these memories are prone to distortions and often non-veridical from encoding to recall. Further, threat has been shown to preferentially disrupt the binding of event details and enhance goal-relevant information. While extensive work has characterised distinctive features of emotional memory, research has not fully explored the influence threat has on temporal memory, a process putatively supported by the binding of event details into a temporal context. Two primary competing hypotheses have (...) been proposed; that threat can impair or enhance temporal memory. We analysed two datasets to assess temporal memory for an in-person haunted house experience. In study 1, we examined the temporal structure of memory by characterising memory contiguity in free recall as a function of individual levels of heart rate as a proxy of threat. In study 2, we replicated marginal findings of threat-related increases in memory contiguity found in study 1. We extended these findings by showing threat-related increases in recency discriminations, an explicit test of temporal memory. Together, these findings demonstrate that threat enhances temporal memory regarding free recall structure and during explicit memory judgments. (shrink)

It is well established that the temporal proximity of two events is a fundamental cue to causality. Recent research with adults has shown that this relation is bidirectional: events that are believed to be causally related are perceived as occurring closer together in time—the so‐called temporal binding effect. Here, we examined the developmental origins of temporal binding. Participants predicted when an event that was either caused by a button press, or preceded by a non‐causal signal, would occur. (...) We demonstrate for the first time that children as young as 4 years are susceptible to temporal binding. Binding occurred both when the button press was executed via intentional action, and when a machine caused it. These results suggest binding is a fundamental, early developing property of perception and grounded in causal knowledge. (shrink)

In some cases our sensory organs are no longer capable of rendering processes in the external world perceptible to us. Their inadequacy expresses itself, for example, in phenomena that involve the kind of expansion of space and time in which the conditions for summary perception are no longer at all present. The resources that aid our immediate sense perception in these circumstances will thus be charged with the task of expanding or diminishing space and time to the extent that the (...) contiguity and succession of events is comprehensible to us. The microscope is thus essentially based upon the principle of spatial expansion, the map on that of spatial diminution. The pertinent contrivances for these purposes are largely derived from the graphic arts. How stereoscopy and instantaneous photography, which is based on temporal expansion, facilitate our perception! In spite of the multifarious applications of photography, one has yet to take the step of employing it in the opposite direction, namely as a means of temporal diminution. We demonstrate that phenomena that take place in too ephemeral and too rapid a succession for our eyes can, with the help of instantaneous photographs in series, be analyzed with our senses as the event passes in a comparatively longer time. Quite analogously, we could also compress into a small duration the moments of an event separated widely from one another in time and thereby give our perception an understanding of the nature thereof. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 29, Number 1, April 2003, pp. 29-41 Hume's Argument for the Temporal Priority of Causes TODD RYAN In a section entitled "Of Probability; and of the idea of cause and effect," Hume embarks on a search for the conceptual components of our idea of causation. Rejecting the possibility of analyzing the idea in terms of the qualities of objects, Hume claims to discover two constituent (...) relations. First, a cause and effect must be contiguous in space and time because "nothing can operate in a time or place, which is ever so little remov'd from those of its existence" (T 1.3.2.6; SBN 75).x Second, a cause must be temporally prior to its effect. Although experience is said to confirm this latter requirement "in most instances," Hume goes on to present an argument purporting to demonstrate that the temporal priority of a cause is an essential feature of every instance of causation.2 Despite the extensive treatment that his analysis of causation has occasioned, Hume's argument for the temporal priority of causes has received comparatively little attention. In this paper I hope to remedy this neglect by providing a more accurate explication of the argument than has previously been offered. Hume does not argue directly for the claim that a cause must be temporally prior to its effect. Rather he offers an alleged reductio ad absurdum of the opposing view that "'tis not absolutely necessary a cause shou'd precede its effect; but that any object or action, in the very first moment of its existence, may exert its productive quality, and give rise to another object or action, perfectly co-temporary with itself (T 1.3.2.7; SBN 76)." This careful summary Todd Ryan is Assistant Professor of Philosophy, Trinity College, Hartford, CT 06106-3100, USA. e-mail: [email protected] 30 Todd Ryan of the opposing view provides a clear statement of what Hume takes to be at issue, namely whether it is "absolutely necessary" that a cause be temporally prior to its effect. From this it can readily be inferred precisely what would count as a refutation of his own view. Specifically, if it could be shown that some objects can produce their effect perfectly contemporaneously with themselves, then his position would have to be abandoned.3 It is against this latter possibility that Hume directs his argument. He writes: 'Tis an establish'd maxim both in natural and moral philosophy, that an object, which exists for any time in its full perfection without producing another, is not its sole cause; but is assisted by some other principle, which pushes it from its state of inactivity, and makes it exert that energy, of which it was secretly possest. Now if any cause may be perfectly co-temporary with its effect, 'tis certain, according to this maxim, that they must all of them be so; since any one of them, which retards its operation for a single moment, exerts not itself at that very individual time, in which it might have operated; and therefore is no proper cause. The consequence of this wou'd be no less than the destruction of that succession of causes, which we observe in the world; and indeed, the utter annihilation of time. For if one cause were co-temporary with its effect, and this effect with its effect, and so on, 'tis plain there wou'd be no such thing as succession, and all objects must be co-existent (T 1.3.2.7; SBN 76). The general structure of the argument is reasonably clear. According to the "establish'd maxim" (hereafter EM) any object that does not produce an effect as soon as possible is not the "sole cause" of that effect. Assuming then that causes might occur simultaneously with their effects, it follows that every proper cause must be contemporaneous with its effect. But if every effect occurs simultaneously with its cause, then we arrive at the absurd conclusion that there can be no causal (or indeed temporal) succession in the world. Therefore, the original assumption that a cause may be perfectly co-temporary with its effect must be... (shrink)

The sense of agency is the perception of willfully causing something to happen. Wegner and Wheatley proposed three prerequisites for SA: temporal contiguity between an action and its effect, congruence between predicted and observed effects, and exclusivity . We investigated how temporal contiguity, congruence, and the order of two human agents’ actions influenced SA on a task where participants rated feelings of self-agency for producing a tone. SA decreased when tone onsets were delayed, supporting contiguity (...) as important, but the order of the agents’ actions also mattered. Relative contiguity was the main determinant of SA, as delayed tones were usually attributed to the most recent action. This was unaffected by contingencies between the two actors’ actions , showing that contiguity has a powerful influence on SA, even during joint action in the presence of other cues. (shrink)

In a recent paper, Karl Schafer argues that Hume's theory of mental representation has two distinct components, unified by their shared feature of having accuracy conditions. As Schafer sees it, simple and complex ideas represent the intrinsic imagistic features of their objects whereas abstract ideas represent the relations or structures in which multiple objects stand. This distinction, however, is untenable for at least two related reasons. Firstly, complex ideas represent the relations or structures in which the impressions that are the (...) objects of their simple components stand. Secondly, abstract ideas are themselves instances of complex ideas. I draw two important conclusions from these facts. Firstly, contra Schafer and Garrett, the Copy Principle, properly emended, constitutes the entirety of Hume's theory of mental representation. Secondly, whereas paradigm examples of complex ideas, e.g. ideas of spatial and temporal complexes, are structured by relations of contiguity, abstract ideas are those complex ideas instead structured by relations of resemblance. As such, they represent their objects not as spatially or temporally contiguous but rather as resembling. (shrink)

Distinctions have been proposed between systems of reasoning for centuries. This article distills properties shared by many of these distinctions and characterizes the resulting systems in light of recent findings and theoretical developments. One system is associative because its computations reflect similarity structure and relations of temporal contiguity. The other is "rule based" because it operates on symbolic structures that have logical content and variables and because its computations have the properties that are normally assigned to rules. The (...) systems serve complementary functions and can simultaneously generate different solutions to a reasoning problem. The rule-based system can suppress the associative system but not completely inhibit it. The article reviews evidence in favor of the distinction and its characterization. (shrink)

The sense of agency refers to an experience in which one’s own action causes a change in environment. It is strongly modulated by both the contingency between action and its outcome and the consistency between predicted and actual action outcomes. Recent studies have suggested that the action outcome can retrospectively modulate action awareness. We suspect that the sense of agency can also be retrospectively modulated. This study examined whether the quantity of action outcome could influence the sense of agency. The (...) participants’ task was to trigger dot motion in a display and rate the extent to which they could control the initiation of dot motion. Independently of both the temporal contiguity between action and its outcome and the consistency between predicted and actual action outcomes, the speed of dot motion as an action’s outcome strongly influenced the sense of agency rating. The present study suggests that the sense of agency stems partly from the inference of action efficiency based on the quantitative aspect of action outcome. (shrink)

In this paper I discuss an intriguing and relatively little studied symptomatic expression of schizophrenia known as experiences of activity in which patients form the delusion that they can control some external events by the sole means of their mind. I argue that experiences of activity result from patients being prone to aberrantly infer causal relations between unrelated events in a retrospective way owing to widespread predictive deficits. Moreover, I suggest that such deficits may, in addition, lead to an aberrant (...) intentional binding effect i.e., the subjective compression of the temporal interval between an intentional action and its external effects. In particular, it might be that patient’s thoughts are bound to the external events they aimed to control producing, arguably, a temporal contiguity between these two components. Such temporal contiguity would reinforce or sustain the feeling that the patient mind is directly causally efficient. (shrink)

The objects we encounter in platformised video games like Destiny 2 pose a challenge to philosophical theorisations of the object. For platformised video game objects, their phenomenological position is not spatio-temporally contiguous with the underlying systems leading to their emergence on-screen. While philosophers and media theorists tend to view such objects as simulations, fictions, or data objects that appear within game spaces, comparatively little thought has been given to the ontology of such objects. In this paper I develop an emergentist (...) approach that emphasises the embeddedness of these objects within platform-architectures. I argue that these objects should be viewed as emergent objects that are ontologically contingent on the interrelations occurring between different components of the platform-assemblage yet separate to them. (shrink)

Evidence suggests that the Ca2+/calmodulin-sensitive adenylyl cyclase may play a key role in neural plasticity and learning in Aplysia, Drosophila, and mammals. This dually-regulated enzyme has been proposed as a possible site of stimulus convergence during associative learning. This commentary discusses the evidence that is required to demonstrate that a protein in a second messenger cascade actually functions as a molecular site of associative integration. It also addresses the issue of how a dually-regulated protein could contribute to the temporal (...) pairing requirements of classical conditioning: that relationship between stimuli display both temporal contiguity and predictability. (shrink)

Multimedia learning theories suggest presenting associated pieces of information in spatial and temporal contiguity. New technologies like Augmented Reality allow for realizing these principles in science laboratory courses by presenting virtual real-time information during hands-on experimentation. Spatial integration can be achieved by pinning virtual representations of measurement data to corresponding real components. In the present study, an Augmented Reality-based presentation format was realized via a head-mounted display and contrasted to a separate display, which provided a well-arranged data matrix (...) in spatial distance to the real components and was therefore expected to result in a spatial split-attention effect. Two groups of engineering students performed six experiments exploring fundamental laws of electric circuits. Cognitive load and conceptual knowledge acquisition were assessed as main outcome variables. In contrast to our hypotheses and previous findings, the Augmented Reality group did not report lower extraneous load and the separate display group showed higher learning gains. The pre- and posttest assessing conceptual knowledge were monitored by eye tracking. Results indicate that the condition affected the visual relevancy of circuit diagrams to final problem completion. The unexpected reverse effects could be traced back to emphasizing coherence formation processes regarding multiple measurements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What Impressions of Necessity? Antony Flew My question is this: "Why and how was it that Hume failed to find a kind ofimpression from which to legitimate the complementary ideas of physical necessity and physical impossibility?" We can best begin from his first published discussion of causation. 1. In Treatise 1.3.2, the section, "Ofprobability; and ofthe idea of cause and effect," Hume asserts that, "The idea... of causation must (...) be deriv'd from some relation among objects; and that relation we must now endeavour to discover."1 His first efforts are directed to establishing that two causally related objects must be both spatio-temporally contiguous and temporally successive, the cause object preceding the effect object. But "[h]aving thus discover'd or suppos'd" this conclusion, Hume finds that he is "stopt short, and can proceed no farther in considering any single instance of cause and effect" (T 76). We might, therefore, have expected that his next move wouldhavebeen to consider series ofresemblingcause objects and their relations to series ofresemblingeffect objects. But such a consideration is in fact deferred from section 2 until section 14, "Of the idea of necessary connection"; a section starting all of seventy-seven pages later. Instead, the immediately following paragraph reads: Shou'd any one leave this instance, and pretend to define a cause, by saying it is something productive of another, 'tis evident he wou'd say nothing. For what does he mean by production? Can he give any definition of it, that will not be the same with that of causation? Ifhe can; I desire it maybe produc'd. If he cannot; he here runs in a circle, and gives a synonimous term instead ofa definition. (T 77) The phrasing ofthat paragraph perhaps constitutes one of those infelicities in the Treatise which Hume was later to recognize and regret. For if and inasmuch as "causation" and "production" are synonyms, any adequate definition of either word must be equally adequate for both. Rashly assuming that his challenge toproduce such a definition will not and cannot be met, Hume proceeds at once to ask and to answer his own consequential question: Volume XVIII Number 2 169 ANTONY FLEW Shall we then rest contented with these two relations of contiguity and succession, as affording a compleat idea of causation? By no means. An object may be contiguous and prior to another, without being consider'd as its cause. There isa necessaryCONNEXION to be taken into consideration; and that relation is of much greater importance, than any of the other two above-mention'd. (T 77) 2. But now, why "necessary connexion" rather than either "causal connexion" or "connexion" without prefix or suffix? Suppose that you were the Adam of the Abstract "created in the full vigour of understanding," yet altogether "without experience." (T 650). And suppose that you had noticed some A's both spatio-temporally contiguous to and precedent to B's. Then, assuming that your understanding was not only vigorous but also equipped with all the essential concepts, you might well ask yourself, or perhaps, if she was now available, your partner, whether there was any causal connection here at all; or, more specifically, whether these A's were causing these B's. You might even proceed to put the question to experimental test: either by producing further A's in hopes ofconsequentially producing furtherB's; or, whenA's occurredspontaneously, by trying to inhibit the subsequent occurrence ofB's. What such an Adam would surely not do—not unless he had developed proto-Humean desires: both to demonstrate the absence here ofany logically necessary connections; and thus, hopefully, also to discredit theidea that anyotherkind ofnecessity might beinvolved—is to suggest that the third, crucial, and so far unidentified element in any adequate account of causation must be necessary connection; as opposed, that is, to either causal connection or just plain unqualified connection. It is, of course, obvious that Hume himselfis eager to get on first to denying logically necessary connections, and then to the further business which he relates to this denial. For it is in the immediately followingsection 3, "Whyacauseisalwaysnecessary," thathe presents his argument for the conclusion that, whereas, "Every effectmust... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:139. COULD AN IMPRESSION BE A PROCESS? Processes are of two main kinds, depending on whether the process has or lacks culmination. I am concerned with non-culminating processes, e.g., with a burning fuse sans explosion. This is reported as secondary by any good dictionary, derived from the head, or culminating, sense of 'process'. An ontological criterion for 'process' is as follows: something is absolutely unchanging, if it is unchanging (...) in every sense of the word. Those who hold that, e.g., a monotonous sound is absolutely unchanging hold that in an absolutely unchanging universe there is no reason why there should not be such a sound. Like any absolutely unchanging existent, a sound is caught, so to speak, in an instantaneous freeze on all change. Those who opt for process hold that change is, so to speak, of its essence. Hence, in an absolutely unchanging world, there could not be a process. The question I wish to raise is not whether there are processes, and certainly not whether Hume opts for processes. It is doubtful that Hume entertained the question of process. Indeed, that is the point. One of Hume's main commentators, R. W. Church, holds that Hume's perceptual atoms, defined by his dictum that distinguishability mutually entails separability, as well as their philosophical relations, are incompatible with the thesis that "experiences exist not in succession but in process." Church goes on to say that it is "difficult to see how... 'process' can have meaning for Hume. He plainly holds perceptions and their contents to be successive merely. I begin by considering Church's reason why Hume must reject processes, and then consider an additional reason drawn from Hume's account of time. Specifically, 140. divisibility òf time terminates in unchanging atoms. The essence of process is change. Hence, no temporal atom is a process. Neither reason, I argue, suffices for holding that impressions and processes are mutually exclusive. Hume holds that distinguishability mutually entails separability. Church holds that this dictum defines Hume's perceptual atomism. To highlight the atomism it is supposed to define, he rewords it, as follows: "Whatever is distinguishable is intrinsically self-identical and therefore self-contained." What does this rewording mean? According to Church, Hume, in the body of the Treatise, holds that resemblance is qualitative identity distributed, numerically, over many complexes. "On Hume's theory of abstract ideas, 'resemblance' is a verbal term referring (in virtue of habits of association) to any case of a qualitative 4 identity numerically distributed." Further, the qualitative identity in question is not relative to any difference from another quality, Bradley to the contrary notwithstanding. Difference, for Hume, is incompatible with relation and it is itself not a relation. It follows, according to Church, that Hume's absolute self-identity mutually entails self -containment. So much for Church's version of Hume's perceptual atomism. Is it incompatible with process, as Church claims? A trombone's slide illustrates non-culminating process with succession. Let us use it as a basis for an account. A trombone's slide is unbroken not only qua sound but qua pitch. Nevertheless, it incorporates pitch multiplicity. By "successive merely" does Church mean that the transition from pitch to pitch must be broken, contrary to what is heard, and, for this reason, Hume cannot account for the slide qua process? If so, he is mistaken. 141. Distinguishability mutually entails separability for Hume, but this does not mean that the transition from pitch to pitch cannot be experienced as a slide. In fact, it is easy to show that a trombone's slide conforms to Hume's dictum, by reason of the just noticeable difference and Hume's philosophical relation of contiguity in time. We are dealing with three notions: first, distinction, and, in particular, how pitches in the slide are distinguished. Second, separability, and, in particular, how separation corresponding to distinction is guaranteed by the fact of process. Third, slide, and, in particular how Hume's philosophical relation of temporal contiguity, coupled with the just noticeable difference, guarantees phenomenal slide. I take up these three notions in the order mentioned. The distinction between two pitches in the trombone's slide is... (shrink)

Previous research shows that people can use the co-occurrence of words and objects in ambiguous situations (i.e., containing multiple words and objects) to learn word meanings during a brief passive training period (Yu & Smith, 2007). However, learners in the world are not completely passive but can affect how their environment is structured by moving their heads, eyes, and even objects. These actions can indicate attention to a language teacher, who may then be more likely to name the attended objects. (...) Using a novel active learning paradigm in which learners choose which four objects they would like to see named on each successive trial, this study asks whether active learning is superior to passive learning in a cross-situational word learning context. Finding that learners perform better in active learning, we investigate the strategies and discover that most learners use immediate repetition to disambiguate pairings. Unexpectedly, we find that learners who repeat only one pair per trial—an easy way to infer this pair—perform worse than those who repeat multiple pairs per trial. Using a working memory extension to an associative model of word learning with uncertainty and familiarity biases, we investigate individual differences that correlate with these assorted strategies. (shrink)

We examine the Doubly Inflected Construction of Sicilian (DIC; Cardinaletti and Giusti 2001, 2003, Cruschina 2013), in which a motion verb V1 from a restricted set is followed by an event verb V2 and both verbs are inflected for the same person and tense features. The interpretation of DIC involves a complex event which behaves as a single, integrated event by linguistic tests. Based on data drawn from different sources, we argue that DIC is an asymmetrical serial verb construction (Aikhenvald (...) 2006). We propose an analysis of DIC in which V1 and V2 enter the semantic composition as lexical verbs, with V1 contributing a motion event and projecting a theme and a goal argument which are identified, respectively, with an agent and a location argument projected by V2. A morphosyntactic mechanism of feature-spread requires that the person and tense features be realized both on V1 and on V2, while, semantically, these features are interpreted only once, in a position from which they take scope over the complex predicate resulting from the combination of V1 and V2. The semantic analysis is based on an operation of event concatenation, defined over spatio-temporally contiguous events which share specific participants, and is implemented in a neo-Davidsonian framework (Parsons 1990). (shrink)

The temporal unity of the self cannot be accounted for by the continuity of causal, factual, or contiguous relations between independently definable mental events, as proposed by Locke and Parfit. The identity of the self over time is normative: it depends on the institutional context of social rules external to the self that determine the relationship between past commitments and current responsibilities. (2005).

Effective conditioning requires a correlation between the experimenter's definition of a response and an organism's, but an animal's perception of its behavior differs from ours. These experiments explore various definitions of the response, using the slopes of learning curves to infer which comes closest to the organism's definition. The resulting exponentially weighted moving average provides a model of memory that is used to ground a quantitative theory of reinforcement. The theory assumes that: incentives excite behavior and focus the excitement on (...) responses that are contemporaneous in memory. The correlation between the organism's memory and the behavior measured by the experimenter is given by coupling coefficients, which are derived for various schedules of reinforcement. The coupling coefficients for simple schedules may be concatenated to predict the effects of complex schedules. The coefficients are inserted into a generic model of arousal and temporal constraint to predict response rates under any scheduling arrangement. The theory posits a response-indexed decay of memory, not a time-indexed one. It requires that incentives displace memory for the responses that occur before them, and may truncate the representation of the response that brings them about. As a contiguity-weighted correlation model, it bridges opposing views of the reinforcement process. By placing the short-term memory of behavior in so central a role, it provides a behavioral account of a key cognitive process. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:168 HUME ON MEMORY AND CAUSATION In the first part of this paper I shall argue that an examination of Hume's second criterion for distinguishing between ideas of the memory and ideas of the imagination shows that Hume's ideas of the memory are relative ideas corresponding to definite descriptions of the general form, "the complex impression that is the (original) cause of a particular positive idea m and which (...) exactly (or closely) resembles m," where 'm' is a variable ranging over positive ideas (mental images). I shall show that if this is correct, there is a clear basis for distinguishing ideas of the memory both from ideas of the imagination and from beliefs regarding spatially and temporally located objects that are not based upon the memory. But since there is often a significant temporal distance between the impression remembered and the positive component of one's relative idea of the memory, it is incumbent upon me to explain how the remembered impression and the positive idea can be causally related even though they are not temporally contiguous. In the second part of the paper I shall argue that, contrary to his "definitions" of causation in the Treatise,2 Hume took neither spatial nor temporal contiguity to be essential to causation. In Book I, Part I, Section 3 and again in Book I, Part III, Section 5 of his Treatise of Human Nature, Hume provides two criteria for distinguishing between ideas of the memory and ideas of the imagination. I shall refer to these two criteria as "the phenomenal criterion" and "the formal criterion". In this section I shall show that while the phenomenal criterion 169 expresses the means one actually employs in distinguishing an idea of the memory from an idea of the imagination, the formal criterion provides one with insight into the complex structure of an idea of the memory, and therefore allows one to distinguish ideas of the memory from both ideas of the imagination and from other ideas of and beliefs regarding spatially and temporally located objects. In Book I, Part I,- Section 3 of the Treatise, Hume introduces the phenomenal criterion as follows: We find by experience, that when any impression has been present with the mind, it again makes its appearance there as an idea; and this it may do after two different ways: either when in its new appearance it retains a considerable degree of its first vivacity, and is somewhat intermediate betwixt an impression and an idea; or when it entirely loses that vivacity, and is a perfect idea. The faculty, by which we repeat our impressions in the first manner, is called the MEMORY, and the other the IMAGINATION. 'Tis evident at first sight, that the ideas of the memory are much more lively and strong than those of the imagination, and that the former faculty paints its objects in more distinct colours, than any which are employ'd by the latter. When we remember any past event, the idea of it flows in upon the mind in a forcible manner; whereas in the imagination the perception is faint and languid, and cannot without difficulty be preserv'd by the mind steddy and uniform for any considerable time. Here then is a sensible difference betwixt one species of ideas and another. (T 8-9; cf. T 85) It is clear that Hume took this to be a phenomenal criterion, i.e., to specify a sensible characteristic by which one can distinguish an idea of the memory from an idea of the imagination. Not only does he state that he has found "a sensible difference betwixt one species of ideas and another" (T 9), in the parallel 170 passage in Part III, Section 5 he claims to "search for the characteristic [of the idea], which distinguishes the memory from the imagination" (T 85, Hume's emphasis). The characteristic that allows one to "distinguish them in their operation" (T 85) is the difference in the force and vivacity of the ideas involved. Ideas of the memory are "much more lively and strong than those of the imagination," "the former faculty paints its objects in more distinct colours", and ideas of the memory... (shrink)

Vagueness in event times pertains to the observation that one usually finds it difficult to slice the continuous flux of space-time into a series of events with clear-cut temporal boundaries. I argue that such vagueness originates from our ignorance of discrete changing points wherein states of affairs begin or cease to obtain. Applying the epistemic view on vagueness (Williamson 1994) to vagueness in event times, I contend that the lagging nature of knowledge prevents one from knowing the abrupt changes (...) taking place between contiguous minimal time intervals. In turn, vagueness in the conception of event times is construed in terms of epistemic modality (Jaszczolt 2009), viz. a gradation of a thinker’s epistemic certainty towards the occurrence of a physical change. (shrink)

According to the standard view, the causal process connecting a past representation and its subsequent recall involves intermediary memory traces. Yet Bertrand Russell and Ludwig Wittgenstein held that since the physiological evidence for memory traces isn't quite conclusive, it is prudent to come up with an account of memory causation-referred to as nmemic causation—that manages without the stipulation of memory traces. Given mnemic causation, a past representation is directly causally active over a temporal distance. I argue that the stipulation (...) of memory traces is indeed indispensable for analyzing mernory causation. (shrink)

Lotman’s conception of semiosphere opens the way to development of spatial semiotics as a special branch of sign theory. There are a lot of peculiarities in the spatial semiosis, which distinguish it from the temporal ones. These distinctions are connected with some special features of semiotized space, and they touch both upon the spatial texts and upon the spatial codes. The spatial syntax has its own specific structures, which can be reversed, non-linear and continual, created without discrete signs. The (...) differentiation relates also to semantics of spatial signs and texts, which are mainly motivated by their denotates due to similarity or contiguity. There are some pragmatic peculiarities of the spatial semiosis: the greater connection with the praxis, on the one hand, and the greater ability for the preservation of the cultural memory, on the other hand. The mainly visual character of spatial texts in plane of expression can be also considered as its specific pragmatic property. These peculiarities give some special possibilities for the spatial semiosis and make necessary its participation in the various spheres of the culture, where diverse spatial codes interact in different ways between each other and with temporal codes as well. (shrink)

ABSTRACTTreating conditionals as probabilistic statements has been referred to as a defining feature of the “new paradigm” in cognitive psychology. Doing so is attractive for several reasons, but it complicates the problem of assessing the merits of conditional arguments. We consider several variables that relate to judging the persuasiveness of conditional arguments with uncertain premises. We also explore ways of judging the consistency of people's beliefs as represented by components of conditional arguments. Experimental results provide evidence that inconsistencies in beliefs (...) are more prevalent if the arguments’ components are spatially and temporally dispersed than if they are contiguous in space and time. This supports the idea that assuring the consistency among even a small number of beliefs is difficult to do, especially if the beliefs in question are not brought into consciousness at the same time; but consistency can be enhanced when beliefs are considered simultaneously or nea... (shrink)

In his analysis of the concept of causality, Hume finds that all events accounted causes and effects are contiguous and successive. No object can act efficaciously upon another so long as the objects are at a distance from each other. It may sometimes appear that “distant objects are productive of one another,” but on examination it is discovered that they are linked together by a series of intermediate causes which are contiguous among themselves; and even where examination does not directly (...) disclose the intermediate causal chain, it is still presumed that it exists. Also the cause is temporally prior to the effect. If I throw a stone through a window, the smashing of the glass follows the act of throwing the stone. It is only after the realization of the cause that the effect appears. Thus a cause is an object that is precedent to and contiguous with another object that is called the effect. (shrink)

Despite the adoption of the term headline for both print news and broadcast news, their roles in the different media are not the same. Print headlines are mostly contiguous with the story to which they refer. Broadcast headlines, however, are often at some temporal distance from their associated news item. In the print medium every story carries a headline. In broadcast news only some items are headlined. And yet, whereas the linguistic properties of print headlines have been much studied, (...) almost no attention has been given to broadcast headlines. This article uses a corpus of headlines from BBC television news to explore their discursive form and function. It isolates a basic structure of {heading } for television news headlines and delineates a repertoire of patterns through which the structure is realised. In doing so, it suggests that the core function of television news headlines is to engage with the audience by projecting aspects of their news values forward through the programme. (shrink)

This book records almost 50 years' worth of developing and explaining a new way of thinking about behavior. It represents a journey more than a goal. I came to see that the science of behavior needed a new paradigm, and two sorts of changes were required. First, the old molecular view inherited from the nineteenth century, based on discrete responses and contiguity, had to be replaced by a view based on the dynamics of behavior. Behavior is manifestly process and (...) cannot be contained in little momentary packets. Behavior is flow and requires measures and theories that acknowledge its temporal extendedness. Such a new ("molar") view offers plausible and elegant explanations both of laboratory results and of phenomena in the everyday world. The molecular view falls short on both counts. (shrink)

This article investigates the relationship between Hume’s causal philosophy and Newton ’s philosophy of nature. I claim that Newton ’s experimentalist methodology in gravity research is an important background for understanding Hume’s conception of causality: Hume sees the relation of cause and effect as not being founded on a priori reasoning, similar to the way that Newton criticized non - empirical hypotheses about the properties of gravity. However, according to Hume’s criteria of causal inference, the law of universal gravitation is (...) not a complete causal law, since it does not include a reference either to contiguity or to temporal priority. It is still argued that because of the empirical success of Newton ’s theory—the law is a statement of an exceptionless repetition—Hume gives his support to it in interpreting gravity force instrumentally as if it bore a causal relation to motion. (shrink)

The empirical literature on phenomenal causality (the notion that causality can be perceived) is reviewed. Different potential types of phenomenal causality and variables that influence phenomenal causality were considered in Part I (Hubbard 2012b) of this two-part series. In Part II, broader questions regarding properties of phenomenal causality and connections of phenomenal causality to other perceptual or cognitive phenomena (different types of phenomenal causality, effects of spatial and temporal variance, phenomenal causality in infancy, effects of object properties, naïve physics, (...) spatial localization, other illusions, amodal completion, Gestalt principles of perceptual grouping, effects of context, differences between physical and social causality, effects of learning and experience, individual differences, effects of predictability, asymmetry in phenomenal causality, differences between perceived causality and perceived force, phenomenal causality in nonhuman animals) are considered. Potential mechanisms of phenomenal causality (inference from contiguity, a priori understanding, ampliation, perceptual learning, stimulus activity, beliefs regarding kinematics, haptic experience, beliefs regarding impetus, postdiction, innateness, modularity, specific neural structures) are also considered. (shrink)

This chapter traces Hume’s search for the impression-source of the idea of necessary connection through Book 1 of the Treatise. It then sketches and evaluates the main interpretative positions concerning Hume’s account of causation. These positions characterize Hume either as a regularity theorist who thinks that causation is merely a matter of temporal priority, contiguity, and constant conjunction, a projectivist who takes causal talk to have an essential non-representational element, or a skeptical realist who believes in, and believes (...) that we genuinely refer to, real causal powers. Finally, it briefly discusses rival interpretations of Hume’s famous “two definitions” of causation. (shrink)

Interest in postmodernity has stagnated over the past decade and has come to be partially replaced by a concern with globalization. While the two terms are often considered to be divergent there is continuity as theoretical discourse transfers from one to the other. In what follows, we first distill the heuristic models employed by various knowledge-geographical traditions of social thought in conceptualizing postmodernism. We then transpose these models into recent debates on globalization. Globalization theory has become the provenance of British (...) and American theorists because of a contiguity that extends back to a propitious model employed to understand postmodernism. Globalization theory in France and Germany are largely non-existent or tangential for similar reasons that find opposite tendencies. The spatial and temporal aspect inherent to both the modern and postmodern indicates that both already present a stance on globalization. Among the key factors predicting the fortunes of heuristic models is the continuation of classical theoretical concerns in the present situation of globalization. Post-classical tendencies in heuristic models indicate that more cloistered postmodern concerns do not transfer well to globalization. Those heuristic models that conceive of a postmodernist break are those whose application to present instantiations of globalization is subsequently limited. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

Philosophers of dispositionalism deny the Humean account of causality in terms of constant conjunction, contiguity, temporal priority and contingency. And some of them go further to explain the causal relation not between events or objects, but between properties, in terms of reciprocity, simultaneity, ubiquity, intentionality and holism. But their exposition seems to remain fragmented even though they try to make use of the notions of intentionality and holim. I would inquire reasons why it is piecemeal, by analysing that (...) they employ these notions of intentionality and holism which has been constructed within the dualistic tradition. If one wants to make the dispositional project to be powerful, she should look for the notions of intentionality and holism which are free of the dualistic traits and which have been constructed in the tradition of naturalism. The concept of integrationality may be a candidate for such a task. This conception was coined in Zhongyong under the name of cheng in that there is nothing without cheng, and was developed in one of Sok-hon Ham's thesis that any entity in the world contains "seed" within it to realize objectives shared by all involved. Humans are privileged and distinct from other natures, but there is continuity between them. An example of the integrationality applied to the case of humans would be that realization of myself and realizations of all others are one and not two. I would summarize notions of "cheng" and "seed" by offering the integrationality thesis, that is, that there is integrationality in any entity like dispositions such that the integrationality is a power to realize the embedded objective of it in the context where it interacts with all others. I would claim that integrationality is a metaphysical basis for a way of human thinking, by arguing that it is a necessary part of presupposition for our understanding of the world without which the world is not intelligible. The notion of integrationality is involved empirically as well as conceptually. Empirically, there are numerous reports from physics, biology and information science, which provide with a clue which may well be taken to show the ubiquitous integrationality. But some conceptual considerations would also indicate necessarily toward the same direction. These would include various theses of ontology, epistemology, disposition, modality, naturalized intentionality, fitting and topics like these. I will investigate some of them in order to justify my claim of this paper. (shrink)

This article aims at presenting for the first time a central concept in al-Fbs work that constitutes a keystone in understanding his thought, be it in its logical or political aspects. This concept is that of naqla, which, in terms of transmission and translation, its generic transcription can be rendered as. The naqla is a notion that pertains to rupture in linguistic, logical or temporal continuities, and hints at confusing contiguities in the use of words, in demonstrations and in (...) historical processes. This notion of naqla is at the centre of the preoccupations of al-Fbrrābian sense; namely as a concept that entirely renews the question of transmission and translation. (shrink)

Real-time cognition is continuous in time and contiguous in mental state space. This temporal continuity implies that the majority of mental life is spent in states that are partially consistent with multiple representations. The state-space contiguity implies that different cognitive processes interact in ways that make them quite non-modular. As the evidence for such information-permeability expands to include not just neural subsystems but also the entire brain and even the entire organism, this radical interactionism leads one to hypothesize (...) that mental activity, and perhaps consciousness itself, is something that emerges amid the interface between one's body and one's environment. We portray mental activity as a continuous trajectory through a brain-body-environment state space, where close visitations with labelled attractors may constitute reportable self- consciousness and traversals through unlabeled regions may constitute unutterable immediate conscious awareness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:141 HUME AND CAUSAL INFERENCE Hume held that any time we reach by inference a belief about the existence or qualities of some object or event that we have not actually perceived, the inference is grounded in beliefs about causal relations holding between the object of belief and some other object or objects that have actually been experienced. I will examine here Hume's account of such causal inferences. There (...) are many places in the Treatise of Human Nature at which Hume seems to claim that causal inferences take place when and only when the percipient has had an extensive previous experience of objects of the respective types as regularly conjoined in relations of contiguity and temporal priority. It seems to me that reliance on these passages alone gives a distorted view of Hume's theory of causal inference. Contrary to appearances, Hume did not hold that extensive previous experiences of objects of the same types as properly conjoined is either necessary or sufficient for causal inference. Hume's view is more subtle and complicated, and there are important considerations of coherence and holism present in it. Getting Hume's view on this matter clear is important because it shows how he can escape some of the objections that have been laid against his theory, and it makes possible a reading of Hume as a causal realist. Hume's theory of inference provides the resources for drawing a distinction between accidental and genuine causal regularities and it is compatible with the view that causal relations (and not mere de facto regularities) hold among events in the world independently of their being perceived. The examination begins by looking at a different, but related, issue. Why does Hume think 142 that of the three types of association, only cause and effect association is capable of producing belief? Hume puts the question in the form of a possible objection to his account. For it may be said, that if all the parts of that hypothesis be true, viz. that these three species of relation are deriv'd from the same principles; that their effects in inforcing and inlivening our ideas are the same; and that belief is nothing but a more forcible and vivid conception of an idea; it shou'd follow, that that action of the mind may not only be deriv'd from the relation of cause and effect, but also from those of contiguity and resemblance. But as we find by experience, that belief arises only from causation, and that we can draw no inference from one object to another, except they be connected by this relation, we may conclude, that there is some error in that reasoning, which leads us into such difficulties. (T 107) It is important to note that Hume is talking here only about beliefs about the existence or situations of objects that have not been intuited or experienced. Beliefs about relations of ideas (e.g., that 2 + 2 = 4) are intuitions (or perhaps memories 2 of intuitions). Beliefs in the existence of things as experienced or in the previous existence of things as previously experienced automatically have the 3 vivacity of impressions or memory ideas. What Hume takes himself to need to explain is why cause and effect association allows for a transfer of this vivacity to an idea of an object or situation that has not itself been intuited or experienced and why 4 resemblance and contiguity association do not. If I see a green ball next to a red sweater, then I will normally subsequently believe that the green ball existed next to the red sweater at that time (at 143 least until my memories begin to lose vivacity). This is purely a matter of sense experience and memory. Now if I subsequently see a different red sweater (or the same sweater in a different location), I may be led to think of a green ball existing next to it purely through contiguity and resemblance association. But presumably I would not believe that a green ball existed next to the currently perceived red sweater unless I currently perceived a green ball or my belief was based on some 5 form of causal inference... (shrink)

Whereas the Humean accounts of causality in terms of contiguity, temporal priority, constant conjunction, and contingency face difficulties of one sort, the dispositional explanations of causality in terms of reciprocity, simultaneity, ubiquity, and holism seem to meet difficulties of another sort. But the difficulties which dispositionalism faces may be dissipated if one can appeal consistently to the logic of naturalism, rather than to the grammar of an implicit dualism, for example, as it is illustrated when G. Molnar tried (...) to advance the analogy between the mental intentionality and the physical intentionality. The notion of integration is taken to allow a conceptual space for naturalism of one kind. It may be expressed in the thesis that there is integrationality in any entity like dispositions, such that the integrationality is a power to realize the embedded objective of it in the context where it interacts with all others. The thesis would help to see how dispositions can be intentional, how the notion of information may be read integrationally from any object, and how the notion of fitting plays a role in the metaphysics of integrationality. (shrink)

Crowd behaviour challenges our fundamental understanding of social phenomena. Involving complex interactions between multiple temporal and spatial scales of activity, its governing mechanisms defy conventional analysis. Using 1.5 million Twitter messages from the 15M movement in Spain as an example of multitudinous self-organization, we describe the coordination dynamics of the system measuring phase-locking statistics at different frequencies using wavelet transforms, identifying 8 frequency bands of entrained oscillations between 15 geographical nodes. Then we apply maximum entropy inference methods to describe (...) Ising models capturing transient synchrony in our data at each frequency band. The models show that all frequency bands of the system operate near critical points of their parameter space and while fast frequencies present only a few metastable states displaying all-or-none synchronization, slow frequencies present a diversity of metastable states of partial synchronization. Furthermore, describing the state at each frequency band using the energy of the corresponding Ising model, we compute transfer entropy to characterize cross-scale interactions between frequency bands, showing a cascade of upward information flows in which each frequency band influences its contiguous slower bands and downward information flows where slow frequencies modulate distant fast frequencies. (shrink)

Hebbian mechanisms are justified according to their functional utility in an evolutionary sense. The selective advantage of correlating content-contingent stimuli reflects the putative common cause of temporally or spatially contiguous inputs. The selective consequences of such correlations are discussed by using examples from the evolution of signal form in sexual selection and model-mimic coevolution. We suggest that evolutionary justification might be considered in addition to neurophysiology plansibility when constructing representational models.