We present a one per cent measurement of the cosmic distance scale from the detections of the baryon acoustic oscillations in the clustering of galaxies from the Baryon Oscillation Spectroscopic Survey, which is part of the Sloan Digital Sky Survey III. Our results come from the Data Release 11 sample, containing nearly one million galaxies and covering approximately 8500 square degrees and the redshift range 0.2 < z < 0.7. We also compare these results with those from the publicly released (...) DR9 and DR10 samples. Assuming a concordance Λ cold dark matter cosmological model, the DR11 sample covers a volume of 13 Gpc3 and is the largest region of the Universe ever surveyed at this density. We measure the correlation function and power spectrum, including density-field reconstruction of the BAO feature. The acoustic features are detected at a significance of over 7σ in both the correlation function and power spectrum. Fitting for the position of the acoustic features measures the distance relative to the sound horizon at the drag epoch, rd, which has a value of rd,fid = 149.28 Mpc in our fiducial cosmology. We find DV = at z = 0.32 and DV = at z = 0.57. At 1.0 per cent, this latter measure is the most precise distance constraint ever obtained from a galaxy survey. Separating the clustering along and transverse to the line of sight yields measurements at z = 0.57 of DA = and H =. Our measurements of the distance scale are in good agreement with previous BAO measurements and with the predictions from cosmic microwave background data for a spatially flat CDM model with a cosmological constant. © 2014 The Author Published by Oxford University Press on behalf of the Royal Astronomical Society. (shrink)

La théorie de l’extase de Sergueï Eisenstein propose le paradoxe de représenter la « sortie de la représentation ». À partir d’un projet artistique iconoclaste, proche de celui des avant-gardes des années 1910-1920, qui concevaient la représentation ( Vorstellung ) comme un « mur » à détruire, Eisenstein pense cet objectif possible seulement en sauvegardant la mimésis. Il conçoit alors une esthétique à la fois organique et pathétique qui développe les possibilités expressives et donc une nouvelle et plus (...) puissante représentation ( Darstellung ). (shrink)

Cet ouvrage porte sur la notion de surface, ses plans, ses dimensions et ses propriétés, mais surtout sur ses fonctions dans l'univers artistique. Dès les premiers collages cubistes, ce sont les avant-gardes du début du XXe siècle qui ont fait de cette entité l'élément principal de l'art, de ses opérations et de ses visions. Avec l'invention du cinématographe, du phonographe, et la nouvelle typographie, elle a été repensée en profondeur, vouée à une existence renouvelée au travers de procédés artistiques comme (...) le collage et le montage. C'est dire qu'elle n'a rien d'une catégorie figée et qu'il s'agit d'en faire l'histoire en même temps que la théorie. C'est ce à quoi s'attache cette étude, véritable traversée des avant-gardes occidentales (arts plastiques, cinéma, théâtre, poésie) élaborée au filtre d'une logique des surfaces généralisée. De Picasso à Abel Gance, de Braque à Fernand Léger, d'Apollinaire à Eisenstein, c'est tout un pan de la pensée et de la création qui est ici mis puissamment en perspective au moyen d'analyses aussi précises dans la saisie de leurs objets que dans la traversée de la littérature qu'ils ont suscitée. On y découvrira non seulement une nouvelle histoire des avant-gardes, largement critique par rapport à l'approche formaliste des surfaces (celle de Clement Greenberg notamment), mais aussi une nouvelle histoire de la quatrième dimension, enjeu majeur d'un grand nombre de travaux modernistes. Des surfaces donc ou d'une vision profondément renouvelée du sens et des effets de la création."--back cover. (shrink)

The Hiatus of Sense. Framing and Cinematic Montage according to Eisenstein and Merleau-Ponty“Cinema portrays movement, but how? Is it, as we are inclined to believe, by copying more closely the changes of place? We may presume not, since slow motion shows a body floating between objects like seaweed, but not moving itself.” This interrogation constitutes the only allusion to the cinema in Eye and Mind, and, by reading the argumentation developed in this work, one cannot help thinking that the (...) role which it reserves for cinema is, finally, to be the simple revelation of the illusions of naïve consciousness in relation to movement. Nothing is said about the expressive movement of cinema itself. Nothing is said about the logic of cinematic sense and therefore of cinematic language. Does this mean that Merleau-Ponty, up to the end of his life, had a relationship to cinema that was merely supplementary, that he always privileged the analysis of pictorial, musical, or literary aesthetic experiences?In contrast, we propose to establish that his philosophical position cannot be characterized by the idea that he held the cinema in an ancillary role and status because, in other texts, Merleau-Ponty knew how to decipher in cinema, to a large degree, the enigma of movement as the form of expressivity. But we will argue here that he knew it only up to a certain point. This is what a discussion with the theoretical writings of Sergei Einstein will have to establish. We shall seek to rediscover the philosophical – and even ontological – reasons for this state of things which, if one wants to preserve for cinema the characteristic that allows it to be stimulating for thought, must not under any circumstances be interpreted as the simple result of Merleau-Ponty not having enough interest in the cinema.Lo scarto del senso. Inquadratura e montaggio cinematografico secondo Eisenstein e Merleau-Ponty«Il cinema ci dà il movimento, ma come? Forse, come generalmente si crede, riproducendo il più ravvicinatamente possibile il cambiamento di luogo ? Pare proprio di no: infatti il rallentatore ci mostra un corpo che fluttua tra gli oggetti come un’alga, ma che non si muove»Questa interrogazione costituisce la sola allusione al cinema ne L’occhio e lo spirito e, leggendo l’argomentazione sviluppata in quest’opera, non si può evitare di pensare che il ruolo che essa riserva al cinema sia, in fin dei conti, quello di essere un semplice rivelatore di illusioni della coscienza ingenua di fronte al movimento. Nulla viene detto a proposito del movimento espressivo del cinema in se stesso. Nulla viene detto della logica del senso cinematografico e dunque del linguaggio cinematografico. Questo significa forse che Merleau-Ponty ha avuto, fino alla fine della sua vita, solo un rapporto accessorio con il cinema, e che ha sempre privilegiato l’analisi delle esperienze estetiche pittoriche, musicali o letterarie?Ci proponiamo, al contrario, di stabilire che la sua posizione filosofica non può essere caratterizzata dal mantenimento del cinema in un ruolo ed in uno statuto ancillare, poiché, in altri testi, Merleau-Ponty ha saputo in gran parte decifrare l’enigma del movimento come forma d’espressività al cinema. Questo è quanto un confronto con gli scritti teorici di Sergei Eisenstein ci dovrà permettere di stabilire. Cercheremo di reperire le ragioni filosofiche – ed ontologiche – di questo stato di cose, che non deve essere in nessun caso interpretato, se si vuole conservare il suo carattere stimolante per il pensiero, come il semplice risultato di uno scarso interesse di Merleau-Ponty per il cinema. (shrink)

The Hiatus of Sense. Framing and Cinematic Montage according to Eisenstein and Merleau-Ponty“Cinema portrays movement, but how? Is it, as we are inclined to believe, by copying more closely the changes of place? We may presume not, since slow motion shows a body floating between objects like seaweed, but not moving itself.” This interrogation constitutes the only allusion to the cinema in Eye and Mind, and, by reading the argumentation developed in this work, one cannot help thinking that the (...) role which it reserves for cinema is, finally, to be the simple revelation of the illusions of naïve consciousness in relation to movement. Nothing is said about the expressive movement of cinema itself. Nothing is said about the logic of cinematic sense and therefore of cinematic language. Does this mean that Merleau-Ponty, up to the end of his life, had a relationship to cinema that was merely supplementary, that he always privileged the analysis of pictorial, musical, or literary aesthetic experiences?In contrast, we propose to establish that his philosophical position cannot be characterized by the idea that he held the cinema in an ancillary role and status because, in other texts, Merleau-Ponty knew how to decipher in cinema, to a large degree, the enigma of movement as the form of expressivity. But we will argue here that he knew it only up to a certain point. This is what a discussion with the theoretical writings of Sergei Einstein will have to establish. We shall seek to rediscover the philosophical – and even ontological – reasons for this state of things which, if one wants to preserve for cinema the characteristic that allows it to be stimulating for thought, must not under any circumstances be interpreted as the simple result of Merleau-Ponty not having enough interest in the cinema.Lo scarto del senso. Inquadratura e montaggio cinematografico secondo Eisenstein e Merleau-Ponty«Il cinema ci dà il movimento, ma come? Forse, come generalmente si crede, riproducendo il più ravvicinatamente possibile il cambiamento di luogo? Pare proprio di no: infatti il rallentatore ci mostra un corpo che fluttua tra gli oggetti come un’alga, ma che non si muove»Questa interrogazione costituisce la sola allusione al cinema ne L’occhio e lo spirito e, leggendo l’argomentazione sviluppata in quest’opera, non si può evitare di pensare che il ruolo che essa riserva al cinema sia, in fin dei conti, quello di essere un semplice rivelatore di illusioni della coscienza ingenua di fronte al movimento. Nulla viene detto a proposito del movimento espressivo del cinema in se stesso. Nulla viene detto della logica del senso cinematografico e dunque del linguaggio cinematografico. Questo significa forse che Merleau-Ponty ha avuto, fino alla fine della sua vita, solo un rapporto accessorio con il cinema, e che ha sempre privilegiato l’analisi delle esperienze estetiche pittoriche, musicali o letterarie?Ci proponiamo, al contrario, di stabilire che la sua posizione filosofica non può essere caratterizzata dal mantenimento del cinema in un ruolo ed in uno statuto ancillare, poiché, in altri testi, Merleau-Ponty ha saputo in gran parte decifrare l’enigma del movimento come forma d’espressività al cinema. Questo è quanto un confronto con gli scritti teorici di Sergei Eisenstein ci dovrà permettere di stabilire. Cercheremo di reperire le ragioni filosofiche – ed ontologiche – di questo stato di cose, che non deve essere in nessun caso interpretato, se si vuole conservare il suo carattere stimolante per il pensiero, come il semplice risultato di uno scarso interesse di Merleau-Ponty per il cinema. (shrink)

Advances in medical capability should be accompanied by discussion of their ethical implications. In the military medical context there is a growing interest in developing prophylactic interventions that will mitigate the effects of trauma and improve survival. The ethics of this novel capability are currently unexplored. This paper describes the concept of trauma prophylaxis and outlines some of the ethical issues that need to be considered, including within concept development, research and implementation. Trauma prophylaxis can be divided into interventions that (...) do not and those that do have medical enhancement as an unintended side effect of their prophylactic action. We conclude that type 1 interventions have much in common with established military medical prophylaxis, and the potentially enhancing qualities of type 2 interventions raise different issues. We welcome further debate on both interventions. (shrink)

Although a certain mature historicism in contemporary philosophy takes dialogue with past writers to be the “ultimate context within which knowledge is to be understood,” the problem of truth must persist for it—if only in the form of the question concerning the validity of interpretation. If there is no progress in philosophy toward a more precise and established body of true propositions, still there must be some sort of movement to conversation and some reference point by means of which the (...) movement can be gauged. The reference point for traditional metaphysics is presence and presentation —both as method and as subject matter. But our goal now is simply to understand the special philosophical senses of truth and presence in their historical reality. (shrink)

Although a certain mature historicism in contemporary philosophy takes dialogue with past writers to be the “ultimate context within which knowledge is to be understood,” the problem of truth must persist for it—if only in the form of the question concerning the validity of interpretation. If there is no progress in philosophy toward a more precise and established body of true propositions, still there must be some sort of movement to conversation and some reference point by means of which the (...) movement can be gauged. The reference point for traditional metaphysics is presence and presentation —both as method and as subject matter. But our goal now is simply to understand the special philosophical senses of truth and presence in their historical reality. (shrink)

The functional neural mechanisms underlying the cognitive benefits of aerobic exercise have been a subject of ongoing research in recent years. However, while most neuroimaging studies to date which examined functional neural correlates of aerobic exercise have used simple stimuli in highly controlled and artificial experimental conditions, our everyday life experiences require a much more complex and dynamic neurocognitive processing. Therefore, we have used a naturalistic complex information processing fMRI paradigm of story comprehension to investigate the role of an aerobically (...) active lifestyle in the processing of real-life cognitive-demanding situations. By employing the inter-subject correlation approach, we have identified differences in reliable stimulus-induced neural responses between groups of aerobically active and non-active cognitively intact older adults. Since cardiorespiratory fitness has previously been suggested to play a key role in the neuroprotective potential of aerobic exercise, we have investigated its dose-response relationship with regional inter-subject neural responses. We found that aerobically active lifestyle and cardiorespiratory fitness were associated with more synchronized inter-subject neural responses during story comprehension in higher order cognitive and linguistic brain regions in the prefrontal and temporo-parietal cortices. In addition, while higher regional inter-SC values were associated with higher performance on a post-listening memory task, this was not translated to a significant between-group difference in task performance. We, therefore, suggest that the modulatory potential of aerobic exercise and cardiorespiratory fitness on cognitive processing may extend beyond simple and highly controlled stimuli to situations in which the brain faces continuous real-life complex information. Additional studies incorporating other aspects of real-life situations such as naturalistic visual stimuli, everyday life decision making, and motor responses in these situations are desired to further validate the observed relationship between aerobic exercise, cardiorespiratory fitness, and complex naturalistic information processing. (shrink)

The article examines the intersections between gender, racism, global capitalism and corporate multiculturalism. The notion of nation and nationalism for the twenty-first century is explored. Women's voices from Beijing provide a possible imaginary for transnation discourse.

Phenomenology of Civilization explores the philosophy of Edmund Husserl and R.G. Collingwood, two of the most influential philosophers of the twentieth century. Husserl founded phenomenology, which has had a direct effect on contemporary philosophy, and Collingwood, though less formally known, is still one of the most commonly read twentieth century philosophers. Maurice Eisenstein examines their work in relation to recent philosophy, particularly focusing on existentialism, Heideggerian phenomenology, and postmodernism. He brings these two philosophers together because they were contemporaries of (...) each other, addressed the same audience, and, therefore, had similar issues to influence them. This discussion of Husserl and Collingwood's work moves beyond Husserl's phenomenology, and Collingwood's typical association with Hegel or Kant, to a new understanding of their ideas through an association with each other in regard to contemporary philosophy and political theory. Eisenstein's discoveries place Husserl and Collingwood into the main Western liberal political tradition with Dewey and James, rather than the more radical critique of that tradition with Sartre and Heidegger. (shrink)

Introduction: the theory of rupture -- Belief -- Universality -- Solidarity -- Equality -- Freedom -- Singularity -- The inhuman -- Conclusion: theorizing from the rubble.

Although the bulk of this paper takes the form of an interpretation of the story of Abraham and Sarah in Genesis, it is intended as an exploration of what I take to be a new nexus of assumptions about the objects and practice of philosophy. This new configuration might be designated the narrative paradigm. Here one treats philosophical statements about the world as speech acts in a context few of whose disparate dimensions -- psychological, political, economic, scientific, aesthetic or moral (...) -- can be mastered with the precision of a logical calculus, but which nevertheless exhibits structures and motifs that may let us make sense of philosophical strategies we can neither evade nor forego. Most philosophers from classical times on have been interested in some version of a complete.. (shrink)

The Myth of the Lost Tribes and the Ambiguity of “Israel” 23 Conversion and Return: The Yerushalmi’s Discussion 24 When is “this day”? (Deut. 29:28) 25 The Metaphysics of the Day 27 Hermeneutics in the Covenant of Moab 29..

Drawing on work of the past decade, this volume brings together articles from the philosophy, history, and sociology of science, and many other branches of the biological sciences. The volume delves into the latest theoretical controversies as well as burning questions of contemporary social importance. The issues considered include the nature of evolutionary theory, biology and ethics, the challenge from religion, and the social implications of biology today (in particular the Human Genome Project).

In Working Virtue: Virtue Ethics and Contemporary Moral Problems, leading figures in the fields of virtue ethics and ethics come together to present the first ...

This chapter defends the property dualism argument. The term “semantic premise” mentioned is used to refers to an assumption identified by Brian Loar that antiphysicalist arguments, such as the property dualism argument, tacitly assume that a statement of property identity that links conceptually independent concepts is true only if at least one concept picks out the property it refers to by connoting a contingent property of that property. It is argued that, the property that does the work in explaining the (...) possibility of a posteriori identities need not be a first-order property of the referent in question. On his view, the property dualism argument requires only a weaker semantic premise, which allows that the property in question be a higher order property. A refined version of the property dualism argument is formulated, which uses the weaker premise, and defends the argument against various objections. (shrink)