In this paper, we take up the call to further examine structural injustice in health, and racial inequalities in particular. We examine the many facets of racism: structural, interpersonal and institutional as they appeared in the COVID-19 pandemic in the UK, and emphasize the relevance of their systemic character. We suggest that such inequalities were entirely foreseeable, for their causal mechanisms are deeply ingrained in our social structures. It is by recognizing the conventional, un-extraordinary nature of racism within social systems (...) that we can begin to address socially mediated health inequalities. (shrink)

The recently uncovered role of Fukutin‐related protein (FKRP) in fibronectin glycosylation has challenged our understanding of the basis of disease pathogenesis in the muscular dystrophies. FKRP is a Golgi‐resident glycosyltransferase implicated in a broad spectrum of muscular dystrophy (MD) pathologies that are not fully attributable to the well‐described α‐Dystroglycan hypoglycosylation. By revealing a new role for FKRP in the glycosylation of fibronectin, a modification critical for the development of the muscle basement membrane (MBM) and its associated muscle linkages, new possibilities (...) for understanding clinical phenotype arise. This modification involves an interaction between FKRP and myosin‐10, a protein involved in the Golgi organization and function. These observations suggest a FKRP nexus exists that controls two critical aspects to muscle fibre integrity, both fibre stability at the MBM and its elastic properties. This review explores the new potential disease axis in the context of our current knowledge of muscular dystrophies. (shrink)

In its comprehensive overview of Alain Locke's pragmatist philosophy this book captures the radical implications of Locke's approach within pragmatism, the critical temper embedded in Locke's works, the central role of power and empowerment of the oppressed and the concept of broad democracy Locke employed.

Disturbance-generated biomass results from endogenous and exogenous natural and cultural disturbances that affect the health and productivity of forest ecosystems. These disturbances can create large quantities of plant biomass on predictable cycles. A systems analysis model has been developed to quantify aspects of system capacities (harvest, transportation, and processing), spatial aspects of the biomass generation process, and deterioration impacts on biomass quality in the various inventory states (field stands, field-harvested inventories, transportation prepared inventories, and production facility inventories). Optimal decision alternatives (...) can be used to guide responses to reclamation, utilization, mitigation, and control. This is particularly advantageous in insect and disease outbreaks, in which the process may last several years, with varying levels of intensity. The prescriptive system description, assuming capacities are fixed, results in a linear programming model. The time-dependent capacity decision model results in a mixed-integer programming model. The analytical model is developed in detail in this analysis. (shrink)

The Peanese convention for the use of dots as brackets has the disadvantage that it gives only an awkward method for representing chains of indefinite length, such as the compound implicationSuch chains occur frequently in logical investigations of a metatheoretic nature, and it is convenient to have a systematic method of abbreviating them. The most obvious method of doing this would be to leave the parentheses out entirely, and to understand that in such cases the implication sign or other operation (...) appearing on the extreme left is the most inclusive; but this method, which has been followed by Quine, is at variance with our ordinary algebraic usage, in which we write a − b + c − d for ((a − b) + c) − d, and consequently leads to confusion. It is desirable to have a modification of the Peanese convention which gives a simple method of representing such chain implications, and at the same time avoids this difficulty.Such a modification is easily obtained by generalizing somewhat a procedure of Church. The latter author uses only a single dot, which he writes on the right of an operator to signify a bracket extending from that point to the end of the formula (or parenthesized expression). If dots are used only on the right of operations this is all that can be desired. But the essential idea of this device can be extended to the case where dots are used also on the left, as follows: let us suppose that a group of dots on the right of an operation or prefix denotes the beginning of a bracket which extends to the right until it meets a group with an equal or larger number of dots on the left of an operation; and that the scope of a group of dots on the left of an operation shall extend to the left until it reaches a larger group of dots on the right of some operation. (shrink)

The concept of mimesis has been central to philosophical aesthetics from Aristotle to Kendall Walton: in plain terms, it highlights the links between a fictional world or a representational practice on the one hand and the real world on the other. The present collection of essays includes discussions of its general viability and pertinence and of its historical origins, as well as detailed analyses of various relevant issues regarding literature, film, theatre, images and computer games. The individual papers offer new (...) arguments for the specialist, yet in their sum also provide a solid and helpful survey of the current state of the debate. Contributions by P. Alward, G. Currie, D. Davies, L. Dole el, J. Hamilton, T. Kobli ek, P. Kot'atko, A. Kuzmicova, J. Levinson, A. Meskin, A. Pettersson, M. Pokorny, J. Robson, G. Rossholm, R. M. Sainsbury, F. Stjernberg, E. Terrone, K. Thein, A. Voltolini. (shrink)

Lorenzen, in his book Einführung in die operative Logik und Mathematik has given a relatively precise form of syntactical system which he calls a calculus. The present paper deals with the relationship of Lorenzen's notion of calculus with the notion of formal system . It is shown that the obs of a formal system can be represented as the theses of a calculus of a certain type just when the calculus has a property called the tectonic property, and conditions are (...) given under which one form of system can be transformed into the other.ZusammenfassungLorenzen hat in seinem Buch, Einführung in die operative Logik und Mathematik, eine ziemlich genaue Auffassung eines syntaktischen Systems angegeben, die er Kalkül nennt. Die vorliegende Abhandlung betrifft die Verwandtschaft dieses Lorenzenschen Begriffs mit dem eines formalen Systems . Es wird bewiesen, dass die « Obs » eines formalen Systems sich als die Thesen eines passenden Kalküls genau dann repräsentieren lassen, wenn dieser Kalkül eine gewisse Eigenschaft, die « tectonic property » heisst, besitzt; die Bedingungen für die Überführung einer Art von System in die andere werden aufgezeigt.RésuméLorenzen, dans son livre Einführung in die operative Logik und Mathematik, a exposé une forme assez précise de systéme syntaxique qu'il a appelée un calcul. L'article actuel traite les relations entre cette idée et celle d'un système formel . L'auteur dèmontre que les « obs » d'un système formel peuvent se représenter comme les thèses d'un calcul d'une certaine espèce justement quand le calcul a une propriété que l'on appelle « the tectonic property »; et it énonce des conditions pour qu'un type de système soit transformable en l'autre. (shrink)

The distinction between singular and multiple artworks is usually drawn modally in terms of the notion of an ‘instance’ of a work. Singular works, it is claimed, can only have a single instance, whereas multiple works allow of more than one instance. But this is enlightening only if we have a clear idea of what is meant by an ‘instance’. I argue that there are two different notions of a work's ‘instances’ in play in the literature – what I term (...) its ‘provenential instances’ (‘P-instances’) and its ‘purely epistemic instances’ (E-instances). I further argue that these notions are conflated in the literature critical of Gregory Currie's ‘instance multiplicity hypothesis’ (IMH) – the claim that all artworks are multiple in nature. I defend a modified version of the IMH as a claim about a work's E-instances against a range of criticisms. (shrink)

In this paper, I hope to reintroduce debate on the issue of aesthetic supervenience, especially in light of work undertaken by metaphysicians in recent years. After providing a brief walkthrough of some of the major views on supervenience generally, including several important metaphysical distinctions, I build upon views by Jerrold Levinson, John Bender, Nick Zangwill, and Gregory Currie, to develop a realist thesis of strong local supervenience, such that aesthetic properties of artworks and other objects depend upon their formal/structural properties (...) and reduce to powers to produce aesthetic effects of particular kinds in suitable perceivers under suitable conditions. (shrink)

The aim of this paper is to argue that logic can play an important role in the “toolbox” of molecular biology. We show how biochemical pathways, i.e., transitions from a molecular aggregate to another molecular aggregate, can be viewed as deductive processes. In particular, our logical approach to molecular biology — developed in the form of a natural deduction system — is centered on the notion of Curry-Howard isomorphism, a cornerstone in nineteenth-century proof-theory.

Currie (2019) has introduced a novel account of creativity within the social epistemology of science. The account is intended to capture how conservatism can be detrimental to the health of inquiry within certain scientific communities, given the aims of research there. I argue that recent remarks by Rovelli (2018) put pressure on the applicability of the account. Altogether, it seems we do not yet well understand the relationship between creativity, conservatism, and the health of inquiry in science.

The point, for the 946,326th time is that people get elected to office by currying the favor of powerful interest groups. They don’t get elected for their excellence as political philosophers.Congress has consistently failed to solve some serious problems with the cost, effectiveness, and safety of pharmaceuticals. In part, this failure results from the pharmaceutical industry convincing legislators to define policy problems in ways that protect industry profits. By targeting campaign contributions to influential legislators and by providing them with selective (...) information, the industry manages to displace the public’s voice in developing pharmaceutical policy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How Philosophers Trivialize Art: Bleak House, Oedipus Rex, "Leda and the Swan"Michael D. HurleyIIt is a Perverse but unsurprising irony that answers to the question of whether art can give us knowledge characteristically trivialize that which draws us to individual artworks in the first place. The experience of art is sidelined in favor of the apparent after-effect of that experience. Even those writing against each other tend to converge (...) on this. In an essay contesting Nelson Goodman's epistemic claims for art, Gordon Graham nonetheless agrees that, "The question to be asked of such a work is not, 'Does this effectively capture the scene portrayed?', but 'Does this make us see this sort of occasion differently?'"1 Even attempts to distinguish art as "gift" as opposed to commodity predictably figure its value in terms of what might be taken away: "I went to see a landscape painter's works, and that evening, walking among pine trees near my home, I could see the shapes and the colors I had not seen the day before."2This state of affairs is perversely ironic for two reasons. Firstly, because the possibility of art's cognitive content is only prompted at all by the immediate experience it offers: without this, art would not excite us the way it does and there would be no debate to be had. Secondly, and more significantly, because a defining part of what constitutes an interest in art is, I should like to suggest, an experience of knowledge; or, more accurately, an experience of knowing. This irony is unsurprising because it is merely another expression of a recalcitrant prejudice in western epistemology that idealizes knowledge as an objectively true, justified belief—perforce excluding the possibility of knowing as a subjective [End Page 107] experience of believing. No wonder the author of Theætetus elsewhere finds poets incapable of offering anything but lies.Plato's lingering legacy assures that the cognitive content of art be assized according to what might be extracted from the artwork—cashed in like so many casino chips—when we are done with our experience of it. This applies whether the knowledge-bearing being argued for, or against, is conceptual or propositional (e.g., Putnam, Novitz, John),3 or imaginative (e.g., Goodman, Robinson, Currie),4 as well as for the claim that art can offer us moral instruction (e.g., Beardsmore, Eldridge, Nussbaum, Sharpe, Kieran, John).5 There is less consensus as to whether the capacity of art to give us knowledge enriches the aesthetic value of that artwork, but those who would advance this position have been on the back-foot in recent years following a wave of criticisms from, among others, Beardsley, Lamarque and Olsen, Diffey, and Gaut.6This article addresses art's capacity to give us knowledge as well as the conjunct of whether such knowledge might inform its value qua art. In so doing, it presses a case that has already been disallowed by the terms in which the question of the relationship between art and knowledge is typically put. Whatever efferent knowledge art might offer, it also provides the conditions for a kind of knowing that cannot be translated beyond itself. Only such an experience of knowledge-as-knowing, which is realized through the untranslatable singularity of an artwork, may be considered constitutive of art's aesthetic value. Couched another way: epistemology meets aesthetics not where it has most often been located, in the perfective, at the congruence of the thought and the felt, but in the present continuous, in the engagement of thinking and feeling. Connecting the epistemic and the aesthetic in this way is, then, exactly the opposite proposition to that presented by Douglas Morgan, for whom, "although many words in many arts can and do give us knowledge of many kinds, nonetheless if this knowledge were the key and limit to the love of art, the world of art would be even sorrier than it now is."7IILiterature has generated by far the greatest volume of commentary in the debate on art and knowledge. This is to be expected given the bias towards categorizing knowledge as something like data... (shrink)

Focused sequent calculi are a refinement of sequent calculi, where additional side-conditions on the applicability of inference rules force the implementation of a proof search strategy. Focused cut-free proofs exhibit a special normal form that is used for defining identity of sequent calculi proofs. We introduce a novel focused display calculus fD.LG and a fully polarized algebraic semantics FP.LG\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\mathbb {FP.LG}$$\end{document} for Lambek–Grishin logic by generalizing the theory of multi-type calculi and their (...) algebraic semantics with heterogenous consequence relations. The calculus fD.LG has strong focalization and it is sound and complete w.r.t. FP.LG\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\mathbb {FP.LG}$$\end{document}. This completeness result is in a sense stronger than completeness with respect to standard polarized algebraic semantics, insofar as we do not need to quotient over proofs with consecutive applications of shifts over the same formula. We also show a number of additional results. fD.LG is sound and complete w.r.t. LG-algebras: this amounts to a semantic proof of the so-called completeness of focusing, given that the standard (display) sequent calculus for Lambek–Grishin logic is complete w.r.t. LG-algebras. fD.LG and the focused calculus fLG of Moortgat and Moot are equivalent with respect to proofs, indeed there is an effective translation from fLG-derivations to fD.LG-derivations and vice versa: this provides the link with operational semantics, given that every fLG-derivation is in a Curry–Howard correspondence with a directional λ¯μμ~\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\overline{\lambda }\mu \widetilde{\mu }$$\end{document}-term. (shrink)

This important book provides a theory about the nature of fiction, and about the relation between the author, the reader and the fictional text. The approach is philosophical: that is to say, the author offers an account of key concepts such as fictional truth, fictional characters, and fiction itself. The book argues that the concept of fiction can be explained partly in terms of communicative intentions, partly in terms of a condition which excludes relations of counterfactual dependence between the world (...) and the text. This communicative model is then applied to the following problems: how can something be 'true in the story' without being explicitly stated in the text? In what ways does interpreting a fictional story depend upon grasping its author's intentions? Is there always a unique best interpretation of a fictional text? What is the correct semantics for fictional names? What is the nature of our emotional response to a fictional work? In answering these questions the author explores the complex interaction between author, reader, and text. This interaction requires the reader to construct a 'fictional author' - a character in the story whose personality, beliefs and emotional states must be interpreted if the reader is to grasp the meaning of the work. (shrink)

Studie over het werk van de Duitse wijsgeer Friedrich Ludwig Gottlob Frege (1848-1925).

An argument that we should be optimistic about the capacity of “methodologically omnivorous” geologists, paleontologists, and archaeologists to uncover truths about the deep past. -/- The “historical sciences”—geology, paleontology, and archaeology—have made extraordinary progress in advancing our understanding of the deep past. How has this been possible, given that the evidence they have to work with offers mere traces of the past? In Rock, Bone, and Ruin, Adrian Currie explains that these scientists are “methodological omnivores,” with a variety of strategies (...) and techniques at their disposal, and that this gives us every reason to be optimistic about their capacity to uncover truths about prehistory. Creative and opportunistic paleontologists, for example, discovered and described a new species of prehistoric duck-billed platypus from a single fossilized tooth. Examining the complex reasoning processes of historical science, Currie also considers philosophical and scientific reflection on the relationship between past and present, the nature of evidence, contingency, and scientific progress. -/- Currie draws on varied examples from across the historical sciences, from Mayan ritual sacrifice to giant Mesozoic fleas to Mars's mysterious watery past, to develop an account of the nature of, and resources available to, historical science. He presents two major case studies: the emerging explanation of sauropod size, and the “snowball earth” hypothesis that accounts for signs of glaciation in Neoproterozoic tropics. He develops the Ripple Model of Evidence to analyze “unlucky circumstances” in scientific investigation; examines and refutes arguments for pessimism about the capacity of the historical sciences, defending the role of analogy and arguing that simulations have an experiment-like function. Currie argues for a creative, open-ended approach, “empirically grounded” speculation. (shrink)

I develop an account of homology and homoplasy drawing on their use in biological inference and explanation. Biologists call on homology and homoplasy to infer character states, support adaptationist explanations, identify evolutionary novelties and hypothesize phylogenetic relationships. In these contexts, the concepts must be understood phylogenetically and kept separate: as they play divergent roles, overlap between the two ought to be avoided. I use these considerations to criticize an otherwise attractive view defended by Gould, Hall, and Ramsey & Peterson. By (...) this view, homology and homoplasy can only be delineated qua some level of description, and some homoplasies (parallelisms) are counted as homologous. I develop an account which retains the first, but rejects the second, aspect of that view. I then characterize parallelisms and convergences in terms of their causal role. By the Strict Continuity account, homology and homoplasy are defined phylogenetically and without overlaps, meeting my restriction. Convergence and parallelisms are defined as two types of homoplasy: convergent homoplasies are largely constrained by external factors, while parallelisms are due to internal constraints. (shrink)

This chapter is a manifesto of the film theory of Gregory Currie. He thinks that his work brings a connection between film and cognitive psychology. The chapter begins with a glimpse of an ideal theoretical structure and his opinion on the philosophical background against the manifesto itself. Then the theses and the arguments on film theory and the philosophy of film, moving pictures, convention, intention, and genre, and the viewer is laid out. The description includes an outline of what he (...) thinks is the ideal abstract structure for the film theory. He hoped that by doing this, he would contribute to the exemplification of the structure. The manifesto aims to promote the following: open criticism from the outside, struggle for inner coherence, comprehensiveness, and intuitive judgment. It is evident that his work is in a top-down mode which is why it is called a nervous manifesto. (shrink)