ArgumentWe expand upon the notion of the “credibility cycle” through a study of credibility engineering by the food industry. Research and development (R&D) as well as marketing contribute to the credibility of the food company Unilever and its claims. Innovation encompasses the development, marketing, and sales of products. These are directed towards three distinct audiences: scientific peers, regulators, and consumers. R&D uses scientific articles to create credit for itself amongst peers and regulators. These articles are used to support health claims (...) on products. However, R&D, regulation, and marketing are not separate realms. A single strategy of credibility engineering connects health claims to a specific public through linking that public to a health issue and a food product. (shrink)

Laboratory ethnographies have provided valuable insights in the workings of contemporary science and technology and about facts in the making. Nearly all these ethnographic studies have been conducted at nonprofit research institutes. In this article, the authors argue that it is time for science and technology studies (STS) ethnography to direct its gaze toward for-profit knowledge production sites. The authors do so, based on a long-standing recognition that nonprofit academic laboratories do not have a monopoly on knowledge construction. First, they (...) historicize STS’ focus on public knowledge production, distinguishing between two roles for STS. Second, they argue that relationships between industry and society have changed, resulting in increasing corporate transparency. Third, they argue that this change enables STS ethnography to enter corporations and corporate laboratories. The authors conclude by proposing a research agenda for the social study of corporate science. (shrink)

At Argonautica 4.12–13, Medea, frightened and on the point of fleeing her home, 2 is compared to a young deer.

As an Apollo-like Jason leaves home to start the long journey in quest of the Golden Fleece a strange incident occurs: The first thing to be said about this scene is that it is almost certainly an invention of Apollonius Rhodius.

As an Apollo-like Jason leaves home to start the long journey in quest of the Golden Fleece a strange incident occurs: The first thing to be said about this scene is that it is almost certainly an invention of Apollonius Rhodius.

At Argonautica 4.12–13, Medea, frightened and on the point of fleeing her home, 2 is compared to a young deer.

continent. 2.1 (2012): 2–5 To begin with, as we understand from a remote place like Seoul, there have been two different conceptions of materiality in the Western experimental ?lm history: materiality of cinema and of ?lm. The former has been represented by the practitioners of the so-called the “Expanded Cinema” and the latter by the tradition of the “Hand-made” ?lm. Whereas for the Expanded Cinema, the materiality or the “medium-speci?city” includes not only the ?lm material but also the entire condition (...) and environment in which the cinematic experience is situated (i.e.: screen, projector, audience and theatre); for the Hand-made ?lm, it is the whole ?lmic process prior to the screening in front of the audience (i.e.: hand-processing and optical-printing). The two practices share in the materialist turn that opens up the radical possibilities of aesthetic (and even political) interventions into a process previously considered seamless and transparent. What can be called to attention through the materialist turn includes the aesthetic-institutional process in the projection-spectator relation and the (non-) representational process in ?lm-making. Moreover, these interventions bring their own temporalities back to those processes, and this returning emancipates the temporalities from their subordination to the cinema-as-commodity. Hangjun Lee is a ?lm-based artist whose practice is concerned with Hand-made Film and Experimental Cinema. Given these interests, Lee questions the linkage between materiality and temporality. This was his preoccupation around 2006, the time at which he started to collaborate with Chulki Hong, the noise improviser. The improvisational nature of their audio-visual performances opened means of detouring from the conventional editing techniques. Their collaboration also afforded critical investigations into the performativity of the practices in both the darkroom and the screening room, as well as in the private recording/practicing studio, and public performance spaces for the improvising musician. In fact, it was a kind of common interest shared by both us from the outset. In our collaboration, we avoid sacri?cing/concealing/minimizing one form of performativity (the performative nature and temporality of compositional process) for the sake of the other (i.e. those in improvisational and executional process). In the ?eld of experimental music and sound, this kind of approach has been comprehensively called “cracking” or “hacking”. The concepts are ?nely formulated in the coinage of “Cracked Everyday Electronics” (by Voice Crack) or more generally “Handmade Electronic Music” (by Nicolas Collins). 1 And this was a pure but perhaps necessary coincidence. the original title of the work of our collaboration and, retrospectively, of the set of our working principles at the same time, “The Cracked Share” was named by Lee after Georges Bataille’s masterwork, The Accursed Share , with the substitution of the adjective with “Cracked” as a synonym for ‘reticulated’ in the photographic image. We think the ascetic and subtractive aesthetic turn of the contemporary non-idiomatic improvised (and even somewhat non-improvised) music 2 pushed us further towards more radical dissociation with the empty temporality of commodi?ed audio-visual experience. It can be called the aesthetics of “without,” and exemplars include Yoshihide Otomo’s Turntable Without Records , Sachiko M’s Sampler without Samples . There are also other radical experiments even with the (non-)improvised music without noise and sounds that neatly meet the rules and idioms of the existing/established experimental music. For us, this thread among the experimental music currents weighs in its emphasis on subtractive and dissociational power unique to improvisational action. Surely, the tradition of the Cracked and Handmade improvised music teaches us the crucial lesson that “[m]edia and mediation are never transparent” and that “[m]ediation actively transforms data from one form to another and is never passive.” 3 We couldn’t agree to this statement more. However, without the removal and withdrawal power of improvisation that poses and keeps both subjects (performer and audience) and objects (projector and instrument) in “inferiority,” 4 generalized cracking and hacking practices—or simply “glitch”—in music and visuals would be either sublimated into the mystical and ritualistic forms of “Film Alchemy” and “Noise Music” (to which both of us still strongly feel a belonging but also, more or less, ambivalent sentiments), or else assimilated into the logic of the commodi?ed audio-visual communication. Today in music, this principle of improvisational performativity should be formulated as the dis-organization of sound against the associational de?nition of (electronic) music and it needs to be translated into audio-visual experiences. In other words, cracking practices of free improvisation need not be limited in artistic creativity, in a darkroom, in a studio, or on the stage; the principle of the dis-organization of sound should be the principle of dis-organization (or cracked organization) of audio-visual performance space itself. NOTES 1) Norbert Möslang, “How Does a Bicycle Light Sound?: Cracked Everyday Electronics,” Leonardo Music Journal 14 (2004): 83; Nicolas Collins, Handmade Electronic Music: The Art of Hardware Hacking (New York: Rutledge, 2006). 2) We refer this not to the historical style or genre but rather the idea and practice that ?free improvisation? stands for. On the distinction between idiomatic and non-idiomatic improvisation, see Derek Bailey, Improvisation: Its Nature and Practice in Music (Cambridge, MA: Da Capo, 1993). On radically politico-histrorical interpretations of free improvisation and noise music from various present viewpoints, see Noise and Capitalism , (eds.) Mattin & Anthony Iles (Arteleku Audiolab, 2009). 3) Caleb Kelly, Cracked Media: The Sound of Malfunction (Cambridge: MIT Press, 2009), p. 29. 4) I borrow the term from my long-time collaborator, Choi Joonyong. See Ryu Hankil, Hong Chulki & Choi Joonyong, Inferior Sounds (Balloon and Needle, CD, 2011). (shrink)

We show how in the hierarchies${F_\alpha }$of Fieldian truth sets, and Herzberger’s${H_\alpha }$revision sequence starting from any hypothesis for${F_0}$ that essentially each${H_\alpha }$ carries within it a history of the whole prior revision process.As applications we provide a precise representation for, and a calculation of the length of, possiblepath independent determinateness hierarchiesof Field’s construction with a binary conditional operator. We demonstrate the existence of generalized liar sentences, that can be considered as diagonalizing past the determinateness hierarchies definable in Field’s recent (...) models. The ‘defectiveness’ of such diagonal sentences necessarily cannot be classified by any of the determinateness predicates of the model. They are ‘ineffable liars’. We may consider them a response to the claim of Field that ‘the conditional can be used to show that the theory is not subject to “revenge problems”.’. (shrink)

We develop and apply a multi-dimensional conception of explanatory depth towards a comparative analysis of inflationary and bouncing paradigms in primordial cosmology. Our analysis builds on earlier work due to Azhar and Loeb (2021) that establishes initial condition fine-tuning as a dimension of explanatory depth relevant to debates in contemporary cosmology. We propose dynamical fine-tuning and autonomy as two further dimensions of depth in the context of problems with instability and trans-Planckian modes that afflict bouncing and inflationary approaches respectively. In (...) the context of the latter issue, we argue that the recently formulated trans-Planckian censorship conjecture leads to a trade-off for inflationary models between dynamical fine-tuning and autonomy. We conclude with the suggestion that explanatory preference with regard to the different dimensions of depth is best understood in terms of differing attitudes towards heuristics for future model building. (shrink)

We represent truth sets for a variety of the well known semantic theories of truth as those sets consisting of all sentences for which a player has a winning strategy in an infinite two person game. The classifications of the games considered here are simple, those over the natural model of arithmetic being all within the arithmetical class of $\Sum_{3}^{0}$.

We consider various concepts associated with the revision theory of truth of Gupta and Belnap. We categorize the notions definable using their theory of circular definitions as those notions universally definable over the next stable set. We give a simplified account of varied revision sequences-as a generalised algorithmic theory of truth. This enables something of a unification with the Kripkean theory of truth using supervaluation schemes.

When I offered this title, I was engaging myself to investigate an apparent difference between two kinds of intentionality, in the hope that I should be able to find some firm logical criterion to distinguish them. I was less successful in this than I had hoped. I think I have gained a certain amount of insight into the logic and semantics of one kind of intentional context, largely due to the work I was doing while visiting the University of Pennsylvania (...) on Frege and on Michael Dummett’s monumental commentary on Frege. But as regards the other variety of intentionality I am still very much in the dark; so I am giving you thus far merely a progress report on that. (shrink)

We look at various notions of a class of definability operations that generalise inductive operations, and are characterised as “revision operations”. More particularly we: (i) characterise the revision theoretically definable subsets of a countable acceptable structure; (ii) show that the categorical truth set of Belnap and Gupta’s theory of truth over arithmetic using \emph{fully varied revision} sequences yields a complete \Pi13 set of integers; (iii) the set of \emph{stably categorical} sentences using their revision operator ψ is similarly \Pi13 and which (...) is complete in Gödel’s universe of constructible sets L; (iv) give an alternative account of a theory of truth—realistic variance that simplifies full variance, whilst at the same time arriving at Kripkean fixed points. (shrink)

We analyse the extent of possible computations following Hogarth ([2004]) conducted in Malament–Hogarth (MH) spacetimes, and Etesi and Németi ([2002]) in the special subclass containing rotating Kerr black holes. Hogarth ([1994]) had shown that any arithmetic statement could be resolved in a suitable MH spacetime. Etesi and Németi ([2002]) had shown that some relations on natural numbers that are neither universal nor co-universal, can be decided in Kerr spacetimes, and had asked specifically as to the extent of computational limits there. (...) The purpose of this note is to address this question, and further show that MH spacetimes can compute far beyond the arithmetic: effectively Borel statements (so hyperarithmetic in second-order number theory, or the structure of analysis) can likewise be resolved: Theorem A. If H is any hyperarithmetic predicate on integers, then there is an MH spacetime in which any query ? n H ? can be computed. In one sense this is best possible, as there is an upper bound to computational ability in any spacetime, which is thus a universal constant of that spacetime. Theorem C. Assuming the (modest and standard) requirement that spacetime manifolds be paracompact and Hausdorff, for any spacetime there will be a countable ordinal upper bound, , on the complexity of questions in the Borel hierarchy computable in it. Introduction 1.1 History and preliminaries Hyperarithmetic Computations in MH Spacetimes 2.1 Generalising SADn regions 2.2 The complexity of questions decidable in Kerr spacetimes An Upper Bound on Computational Complexity for Each Spacetime CiteULike Connotea Del.icio.us What's this? (shrink)

We show that Leitgeb’s dependence operator of Leitgeb is a \-operator and that this is best possible.

P S Wilson; Child-Centred Education, Journal of Philosophy of Education, Volume 3, Issue 1, 30 May 2006, Pages 105–126, https://doi.org/10.1111/j.1467-9752.1969.

In this essay, P. Taylor Webb and Kalervo N. Gulson argue that educational policy is a spatial process and that implementation processes in particular produce crucial emergent geographies for policy research. Webb and Gulson describe how emergent geographies are produced when policy folds actors through senses and enactments of policy. The idea that policy is sensed and enacted is developed into the concept of a policy intension that extends approaches to spatial and, in particular, micropolitical analyses in policy research. Webb (...) and Gulson conclude by discussing cartographical methods that better map the geographies of subjectivity produced through policy intensions. (shrink)

We consider notions of truth and logical validity defined in various recent constructions of Hartry Field. We try to explicate his notion of determinate truth by clarifying the path-dependent hierarchies of his determinateness operator.

In this desolate ancient country, which is a semicolony, all activities [seemed to have] stopped. People's lives have also become meaningless. The warm breeze blown from other countries stirred the curiosity of youth. Go! Let us go to the free world. And so, many people left the motherland for France in Europe, as if even workers there were happier than gentlemen here. But what was the reality? They were unable to do very hard work like the average workers. So their (...) idealized country became the target of their curses. (shrink)