One of the goals of computerized tutoring systems is to optimize the learning of facts. Over a hundred years of declarative memory research have identified two robust effects that can improve such systems: the spacing and the testing effect. By making optimal use of both and adjusting the system to the individual learner using cognitive models based on declarative memory theories, such systems consistently outperform traditional methods. This adjustment process is driven by a continuously updated estimate of the rate of (...) forgetting for each item and learner on the basis of the learner's accuracy and response time. In this study, we investigated to what extent these estimates of individual rates of forgetting are stable over time and across different materials. We demonstrate that they are stable over time but not across materials. Even though most theories of human declarative memory assume a single underlying rate of forgetting, we show that, in practice, it makes sense to assume different materials are forgotten at different rates. If a computerized, adaptive fact-learning system allowed different rates of forgetting for different materials, it could adapt to individual learners more readily. (shrink)

One of the goals of computerized tutoring systems is to optimize the learning of facts. Over a hundred years of declarative memory research have identified two robust effects that can improve such systems: the spacing and the testing effect. By making optimal use of both and adjusting the system to the individual learner using cognitive models based on declarative memory theories, such systems consistently outperform traditional methods (Van Rijn, Van Maanen, & Van Woudenberg, 2009). This adjustment process is driven by (...) a continuously updated estimate of the rate of forgetting for each item and learner on the basis of the learner's accuracy and response time. In this study, we investigated to what extent these estimates of individual rates of forgetting are stable over time and across different materials. We demonstrate that they are stable over time but not across materials. Even though most theories of human declarative memory assume a single underlying rate of forgetting, we show that, in practice, it makes sense to assume different materials are forgotten at different rates. If a computerized, adaptive fact‐learning system allowed different rates of forgetting for different materials, it could adapt to individual learners more readily. (shrink)

The fields of machine learning (ML) and cognitive science have developed complementary approaches to computationally modeling human behavior. ML's primary concern is maximizing prediction accuracy; cognitive science's primary concern is explaining the underlying mechanisms. Cross-talk between these disciplines is limited, likely because the tasks and goals usually differ. The domain of e-learning and knowledge acquisition constitutes a fruitful intersection for the two fields’ methodologies to be integrated because accurately tracking learning and forgetting over time and predicting future performance based on (...) learning histories are central to developing effective, personalized learning tools. Here, we show how a state-of-the-art ML model can be enhanced by incorporating insights from a cognitive model of human memory. This was done by exploiting the predictive performance equation's (PPE) narrow but highly specialized domain knowledge with regard to the temporal dynamics of learning and forgetting. Specifically, the PPE was used to engineer timing-related input features for a gradient-boosted decision trees (GBDT) model. The resulting PPE-enhanced GBDT outperformed the default GBDT, especially under conditions in which limited data were available for training. Results suggest that integrating cognitive and ML models could be particularly productive if the available data are too high-dimensional to be explained by a cognitive model but not sufficiently large to effectively train a modern ML algorithm. Here, the cognitive model's insights pertaining to only one aspect of the data were enough to jump-start the ML model's ability to make predictions—a finding that holds promise for future explorations. (shrink)

The fields of machine learning (ML) and cognitive science have developed complementary approaches to computationally modeling human behavior. ML's primary concern is maximizing prediction accuracy; cognitive science's primary concern is explaining the underlying mechanisms. Cross-talk between these disciplines is limited, likely because the tasks and goals usually differ. The domain of e-learning and knowledge acquisition constitutes a fruitful intersection for the two fields’ methodologies to be integrated because accurately tracking learning and forgetting over time and predicting future performance based on (...) learning histories are central to developing effective, personalized learning tools. Here, we show how a state-of-the-art ML model can be enhanced by incorporating insights from a cognitive model of human memory. This was done by exploiting the predictive performance equation's (PPE) narrow but highly specialized domain knowledge with regard to the temporal dynamics of learning and forgetting. Specifically, the PPE was used to engineer timing-related input features for a gradient-boosted decision trees (GBDT) model. The resulting PPE-enhanced GBDT outperformed the default GBDT, especially under conditions in which limited data were available for training. Results suggest that integrating cognitive and ML models could be particularly productive if the available data are too high-dimensional to be explained by a cognitive model but not sufficiently large to effectively train a modern ML algorithm. Here, the cognitive model's insights pertaining to only one aspect of the data were enough to jump-start the ML model's ability to make predictions—a finding that holds promise for future explorations. (shrink)

The parameters governing our behavior are in constant flux. Accurately capturing these dynamics in cognitive models poses a challenge to modelers. Here, we demonstrate a mapping of ACT-R's declarative memory onto the linear ballistic accumulator (LBA), a mathematical model describing a competition between evidence accumulation processes. We show that this mapping provides a method for inferring individual ACT-R parameters without requiring the modeler to build and fit an entire ACT-R model. Existing parameter estimation methods for the LBA can be used, (...) instead of the computationally expensive parameter sweeps that are traditionally done. We conduct a parameter recovery study to confirm that the LBA can recover ACT-R parameters from simulated data. Then, as a proof of concept, we use the LBA to estimate ACT-R parameters from an empirical dataset. The resulting parameter estimates provide a cognitively meaningful explanation for observed differences in behavior over time and between individuals. In addition, we find that the mapping between ACT-R and LBA lends a more concrete interpretation to ACT-R's latency factor parameter, namely as a measure of response caution. This work contributes to a growing movement towards integrating formal modeling approaches in cognitive science. (shrink)

The parameters governing our behavior are in constant flux, and capturing these dynamics in cognitive models remains a challenge. We demonstrate how a mapping between ACT‐R's model of declarative memory and the linear ballistic accumulator enables efficient estimation of memory parameters from data. The resulting estimates provide a cognitively meaningful explanation for observed differences in behavior over time and between individuals.

The aim of this study was to assess attitudes of intensive care nurses to selected ethical issues related to end-of-life decisions in paediatric intensive care units. A self-administered questionnaire was distributed in 2005 to intensive care nurses at two different scientific occasions in Turkey. Of the 155 intensive care nurse participants, 98% were women. Fifty-three percent of these had intensive care experience of more than four years. Most of the nurses failed to agree about withholding (65%) or withdrawing (60%) futile (...) treatment. In addition, 68% agreed that intravenous nutrition must continue at all costs. In futile treatment cases, the nurses tended to leave the decision to parents or act maternalistically. The results showed that intensive care nurses could ignore essential ethical duties in end-of-life care. We suggest that it is necessary to educate Turkish intensive care nurses about ethical issues at the end of life. (shrink)

The Mahayana tradition in Buddhist philosophy is defined by its ethical orientation--the adoption of bodhicitta, the aspiration to attain awakening for the benefit of all sentient beings. And indeed, this tradition is known for its literature on ethics, which reflect the Madhyamaka tradition of philosophy, and emphasizes both the imperative to cultivate an attitude of universal care (karuna) grounded in the realization of emptiness, impermanence, independence, and the absence of any self in persons or other phenomena.This position is morally very (...) attractive, but raises an important problem: if all phenomena, including persons and actions, are only conventionally real, can moral injunctions or principles be binding, or does the conventional status of the reality we inhabit condemn us to an ethical relativism or nihilism? In Moonpaths, the Cowherds address an analogous problem in the domain of epistemology and argues that the Madhyamaka tradition has the resources to develop a robust account of truth and knowledge within the context of conventional reality. The essays explore a variety of ways in which to understand important Buddhist texts on ethics and Mahayana moral theory so as to make sense of the genuine force of morality. (shrink)

It is always possible to construct a real function φ, given random quantities X and Y with continuous distribution functions F and G, respectively, in such a way that φ(X) and φ(Y), also random quantities, have both the same distribution function, say H. This result of De Finetti introduces an alternative way to somehow describe the `opinion' of a group of experts about a continuous random quantity by the construction of Fields of coincidence of opinions (FCO). A Field of coincidence (...) of opinions is a finite union of intervals where the opinions of the experts coincide with respect to that quantity of interest. We speculate on (dis)advantages of Fields of Opinion compared to usual `probability' measures of a group and on their relation with a continuous version of the well-known Allais' paradox. (shrink)

We face reality presented with the data of conscious experience and nothing else. The project of early modern philosophy was to build a complete theory of the world from this starting point, with no cheating. Crucial to this starting point is the data of conscious sensory experience – sense data. Attempts to avoid this project often argue that the very idea of sense data is confused. But the sense-data way of talking, the sense-data language, can be freed from every blemish (...) using ideas from contemporary metaontology. We can adopt a sense-data framework that vindicates the traditional claims of sense-data theories and leads to plausible theories of perception and color. We can, we should, and in a sense, we must. Yet when we do, we face the traditional problem of external world skepticism, head-on. The real challenge of skepticism is forced upon us; it cannot honestly be avoided using externalist tricks, burden of proof shifting, or other razzle dazzle. But the challenge can be met: we are rational to posit the external world as the best explanation of the many synchronic and diachronic patterns over our sense-data. This paper argues for all of these points and ends with a plea for analytic empiricism – a traditional sense-data version of empiricism that uses all of the tools of analytic philosophy while avoiding the more questionable doctrines of the Vienna Circle (phenomenalism, verificationism). Analytic empiricism is our last best hope for completing the great philosophical project of early modern philosophy. (shrink)

This article aims to clarify the epistemological foundations of the Freudian energetics model, starting with a historical review of the 19th century scientific context in which Freud's research lay down its roots. Beyond the physiological and anatomical references of Project for a Scientific Psychology, the physiology Freud makes reference to is in reality primarily anchored in an epistemological model derived from physics. Whilst across the Rhine, the autonomy of physiology in relation to physics was far from being accomplished, as a (...) counterpoint, in France, the revolution in physiology driven by Claude Bernard established itself autonomously from physics,. In contrast, Freud's scientific landscape is entirely dominated by the physics elevated to the rank of an ideal science. The influence of Helmholtz, who is both a medical doctor and a physicist, has a determining influence on Freud's training. The discoveries in physics at that time, in particular the formulation of the principle of 'conservation of force' - first principle of thermodynamics - will constitute the points of reference upon which Freud will elaborate his energetics model, then subsequently, the idea of economy in his metapsychology. In this way we can trace both the historic and epistemological path that led Freud from a concept based on physics, and more specifically thermodynamic energy, to an idea of nervous energy that constitutes the basis of the concept of "quantity" as it is stated as 'first fundamental idea' in Project for a Scientific Psychology. This notion will subsequently evolve, and lead Freud to the introduction of the concept of 'psychical energy,' this time in a purely metapsychological sense. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Where in cognitive architecture do experiences of agency lie? This chapter defends the claim that such states qualify as a species of perception. Reference to ‘the sense of agency’ should not be taken as a mere façon de parler but picks out a genuinely perceptual system. The chapter begins by outlining the perceptual model of agentive experience before turning to its two main rivals: the doxastic model, according to which agentive experience is really a species of belief, and the telic (...) model, according to which agentive experience is really a species of agency. I conclude by defending the perceptual model against a number of objections to it, and by briefly exploring its implications for the question of how to approach the study of perception. (shrink)

The senses, or sensory modalities, constitute the different ways we have of perceiving the world, such as seeing, hearing, touching, tasting and smelling. But how many senses are there? How many could there be? What makes the senses different? What interaction takes place between the senses? This book is a guide to thinking about these questions. Together with an extensive introduction to the topic, the book contains the key classic papers on this subject together with nine (...) newly commissioned essays.One reason that these questions are important is that we are receiving a huge influx of new information from the sciences that challenges some traditional philosophical views about the senses. This information needs to be incorporated into our view of the senses and perception. Can we do this whilst retaining our pre-existing concepts of the senses and of perception or do we need to revise our concepts? If they need to be revised, then in what way should that be done? Research in diverse areas, such as the nature of human perception, varieties of non-human animal perception, the interaction between different sensory modalities, perceptual disorders, and possible treatments for them, calls into question the platitude that there are five senses, as well as the pre-supposition that we know what we are counting when we count them as five.This book will serve as an inspiring introduction to the topic and as a basis from which further new research will grow. (shrink)

The senses, or sensory modalities, constitute the different ways we have of perceiving the world, such as seeing, hearing , touching, tasting, and smelling. But what makes the senses different? How many senses are there? How many could there be? Wha t interaction takes place between the senses? This introduction is a guide to thinking about these questions.

Much work on the sense of agency has focused either on abnormal cases, such as delusions of control, or on simple action tasks in the laboratory. Few studies address the nature of the sense of agency in complex natural settings, or the effect of skill on the sense of agency. Working from 2 case studies of mountain bike riding, we argue that the sense of agency in high-skill individuals incorporates awareness of multiple causal influences on action outcomes. This allows fine-grained (...) differentiation of the contributions of self and external factors to action outcomes. We further argue that the sense of agency incorporates prospective awareness of actions that are possible in a situation and awareness of the limits of control. These forms of sense of agency enable highly flexible, context-sensitive strategic control, and are likely to contribute to high interindividual variability in responses to complex tasks. (shrink)

The sense of agency is a central aspect of human self-consciousness and refers to the experience of oneself as the agent of one’s own actions. Several different cognitive theories on the sense of agency have been proposed implying divergent empirical approaches and results, especially with respect to neural correlates. A multifactorial and multilevel model of the sense of agency may provide the most constructive framework for integrating divergent theories and findings, meeting the complex nature of this intriguing phenomenon.

An essential exploration of sense and meaning. -/- Is there a “world” anymore, let alone any “sense” to it? Acknowledging the lack of meaning in our time, and the lack of a world at the center of meanings we try to impose, Jean-Luc Nancy presents a rigorous critique of the many discourses-from philosophy and political science to psychoanalysis and art history-that talk and write their way around these gaping absences in our lives. -/- In an original style befitting his search (...) for a new mode of thought, Nancy offers fragmentary readings of writers such as Nietzsche, Hegel, Marx, Lévinas, Lacan, Derrida, and Deleuze insofar as their work reflects his concern with sense and the world. Rather than celebrate or bemoan the loss of meaning or attempt to install a new one, his book seeks to reposition both sense and the world between the presence and absence of meaning, between objectivity and subjectivity. Nancy’s project entails a reconception of the field of philosophy itself, a rearticulation of philosophical practice. Neither recondite nor abstract, it is concerned with the existence and experience of freedom-the actuality of existence as experienced by contemporary communities of citizens, readers, and writers. -/- Combining aesthetic, political, and philosophical considerations to convey a sense of the world between meaning and reality, ideal content and material form, this book offers a new way of understanding-and responding to-“the end of the world.”. (shrink)

A. NATURAL. HISTORY. OF. THE. SENSES. “This is one of the best books of the year—by any measure you want to apply. It is interesting, informative, very well written. This book can be opened on any page and read with relish.... thoroughly  ...

A phenomenological account of spatial perception in relation to the lived body. -/- The Sense of Space brings together space and body to show that space is a plastic environment, charged with meaning, that reflects the distinctive character of human embodiment in the full range of its moving, perceptual, emotional, expressive, developmental, and social capacities. Drawing on the philosophies of Merleau-Ponty and Bergson, as well as contemporary psychology to develop a renewed account of the moving, perceiving body, the book suggests (...) that our sense of space ultimately reflects our ethical relations to other people and to the places we inhabit. (shrink)

This Is A New Release Of The Original 1868 Edition.

I argue that we should reject the sparse view that there are or could be only a small number of rather distinct senses. When one appreciates this then one can see that there is no need to choose between the standard criteria that have been proposed as ways of individuating the senses—representation, phenomenal character, proximal stimulus and sense organ—or any other criteria that one may deem important. Rather, one can use these criteria in conjunction to form a fine-grained (...) taxonomy of the senses. We can think of these criteria as defining a multidimensional space within which we can locate each of the senses that we are familiar with and which also defines the space of possible senses there could be. (shrink)

A New York Times Notable Book of the Year “For anyone wanting to understand the twists and turns of the history of ideas, this book will be indispensable.”―John Gray, New York Times Book Review The Sense of Reality was the last new collection of essays published by Isaiah Berlin in his lifetime. All informed by Berlin’s lifelong fascination with the history of ideas, these engaging studies range widely: the subjects explored include realism in history; judgment in politics; the history of (...) socialism; the nature and impact of Marxism; the radical cultural revolution instigated by the Romantics; Russian notions of artistic commitment; and the origins and practice of nationalism. The title essay, taking its cue from the impossibility of recreating a bygone epoch, is a superb centerpiece. Now with a new foreword by Timothy Snyder and a new appendix comprising a previously unpublished essay on the great Russian critic Vissarion Belinksy and a previously uncollected lecture on utopianism, The Sense of Reality is a rich and illuminating collection from one of the most seductive writers and thinkers of the twentieth century. (shrink)

The now growing literature on the content and sources of the phenomenology of first-person agency highlights the multi-faceted character of the phenomenology of agency and makes it clear that the experience of agency includes many other experiences as components. This paper examines the possible relations between these components of our experience of acting and the processes involved in action specification and action control. After a brief discussion of our awareness of our goals and means of action, it will focus on (...) the sense of agency for a given action, understood as the sense the agent has that he or she is the author of that action. I argue that the sense of agency can be analyzed as a compound of more basic experiences, including the experience of intentional causation, the sense of initiation and the sense of control. I further argue that the sense of control may itself be analysed into a number of more specific, partially dissociable experiences. (shrink)

We perceive in many ways. But several dubious presuppositions about the senses mask this diversity of perception. Philosophers, scientists, and engineers alike too often presuppose that the senses (vision, audition, etc.) are independent sources of information, perception being a sum of these independent contributions. We too often presuppose that we can generalize from vision to other senses. We too often presuppose that vision itself is best understood as a passive receptacle for an image thrown by a lens. (...) In this essay we illustrate how reflection on results from the cognitive sciences undermine these (and many other) traditional presuppositions. Our illustration situates the remaining essays in the volume, Perception and its Modalities, which further extend the case against various traditional presuppositions, and offer alternatives ways to understand the senses and their role in perception. While many of the essays in this volume represent competing views and draw on different fields, from conceptual analysis to engineering, most contributors believe that to understand perception properly, we need to treat as foundational the idea that the senses work together. From that agreement, new paradigms for theorizing about perception begin to emerge. (shrink)

Because philosophical reflections on touch usually start from our ability to perceive properties of objects, they tend to overlook features of touch that are crucial to correct understanding of tactual perception. This paper brings out these features and uses them to develop a general reconception of the sense of touch. I start by taking a fresh look at our ability to feel, in order to reveal its vital role. This sheds a different light on the skin's perceptual potential. While it (...) is commonly observed that tactile experiences have two intentional objects, an external object and one's own body, I will advance a more accurate alternative: in tactile experiences, one becomes aware of what one's body undergoes. This alternative not only fits better with tactility's vital role; it is also key to explaining how active touching provides for a unique contribution to our perceptual relation to material objects. By thus connecting tactility's vital role to the way we rely on touch while manipulating objects, this essay offers a cross-sectional survey of our tactile powers that reveals the interplay between sensing and touching. (shrink)

The ever-present possibility of death forces upon us the question of life's meaning and for this reason death has been a central concern of philosophers throughout history. From Socrates to Heidegger, philosophers have grappled with the nature and significance of death. In "Annihilation", Christopher Belshaw explores two central questions at the heart of philosophy's engagement with death: what is death; and is it bad that we die? Belshaw begins by distinguishing between literal and metaphorical uses of the term and offers (...) a unified and biological account of death, denying that death brings about non-existence. How our death relates to the death of the brain is explored in detail. Belshaw considers the common-sense view that death is often bad for us by examining the circumstances that might make it bad as well as the grounds for thinking that one death can be worse than another. In addition, Belshaw explores whether we can be harmed after we die and before we were born. The final chapters explore whether we should prevent more deaths and whether, via cryonics, brain transplants, data storage, we might cheat death. Throughout Belshaw shows how questions of personhood and life's value are bound up with our views on the sense and significance of death. "Annihilation's" in-depth analysis and insightful exposition will be welcomed not only by philosophers working on the metaphysics of death but also by students and scholars alike looking for a foundation for discussions of the ethics of abortion, euthanasia, life-support and suicide. (shrink)

According to the reading offered here, Descartes' use of the meditative mode of writing was not a mere rhetorical device to win an audience accustomed to the spiritual retreat. His choice of the literary form of the spiritual exercise was consonant with, if not determined by, his theory of the mind and of the basis of human knowledge. Since Descartes' conception of knowledge implied the priority of the intellect over the senses, and indeed the priority of an intellect operating (...) independently of the senses, and since, in Descartes' view, the untutored individual was likely to be nearly wholly immersed in the senses, a procedure was needed for freeing the intellect from sensory domination so that the truth might be seen. Hence, the cognitive exercises of the Meditations, modeled not on the sense- and imagination-based exercises of Ignatius of Loyola, but on the Augustinian procedure of turning away from the senses and imagination to perceive the unpicturable with the fleshless eye of the mind. In accordance with this reading, the function of Descartes' skeptical arguments is not to introduce skepticism so that it can be defeated but to aid the meditator in withdrawing the mind from the senses in order to attend to truths of the pure intellect. These truths then offer the basis for a new natural philosophy, including a new theory of the senses. (shrink)

Drawing on the art, literature, and social sciences involved, Santayana discusses the nature of beauty, form, and expression.

The phenomenology of agency and perception is probably underpinned by a common cognitive system based on generative models and predictive coding. I defend the hypothesis that this cognitive system explains core aspects of the sense of having a self in agency and perception. In particular, this cognitive model explains the phenomenological notion of a minimal self as well as a notion of the narrative self. The proposal is related to some influential studies of overall brain function, and to psychopathology. These (...) elusive notions of the self are shown to be the natural upshots of general cognitive mechanisms whose fundamental purpose is to enable agents to represent the world and act in it. (shrink)

A study of the philosophy and theology of the spiritual life that takes religious sensibility or the practice of religious life, rather simply creedal commitment, as a starting point.

Stanley Cavell, one of America's most distinguished philosophers, has written an invaluable companion volume to Walden, a seminal book in our cultural heritage. This expanded edition includes two essays on Emerson.

We investigate the processes underlying the feeling of control over one’s actions . Sense of agency may depend on internal motoric signals, and general inferences about external events. We used priming to modulate the sense of agency for voluntary and involuntary movements, by modifying the content of conscious thought prior to moving. Trials began with the presentation of one of two supraliminal primes, which corresponded to the effect of a voluntary action participants subsequently made. The perceived interval between movement and (...) effect was used as an implicit measure of sense of agency. Primes modulated perceived intervals for both voluntary and involuntary movements, but the modulation was greatest for involuntary movements. A second experiment showed that this modulation depended on prime–movement contiguity. We propose that sense of agency is based on a combination of internal motoric signals and external sensory evidence about the source of actions and effects. (shrink)

The ever-present possibility of death forces upon us the question of life's meaning and for this reason death has been a central concern of philosophers throughout history. From Socrates to Heidegger, philosophers have grappled with the nature and significance of death. In "Annihilation", Christopher Belshaw explores two central questions at the heart of philosophy's engagement with death: what is death; and is it bad that we die? Belshaw begins by distinguishing between literal and metaphorical uses of the term and offers (...) a unified and biological account of death, denying that death brings about non-existence. How our death relates to the death of the brain is explored in detail. Belshaw considers the common-sense view that death is often bad for us by examining the circumstances that might make it bad as well as the grounds for thinking that one death can be worse than another. In addition, Belshaw explores whether we can be harmed after we die and before we were born. The final chapters explore whether we should prevent more deaths and whether, via cryonics, brain transplants, data storage, we might cheat death. Throughout Belshaw shows how questions of personhood and life's value are bound up with our views on the sense and significance of death. "Annihilation's" in-depth analysis and insightful exposition will be welcomed not only by philosophers working on the metaphysics of death but also by students and scholars alike looking for a foundation for discussions of the ethics of abortion, euthanasia, life-support and suicide. (shrink)

Philosophers and scientists have studied sensory perception and, in particular, vision for many years. Increasingly, however, they have become interested in the nonvisual senses in greater detail and the problem of individuating the senses in a more general way. The Aristotelian view is that there are only five external senses—smell, taste, hearing, touch, and vision. This has, by many counts, been extended to include internal senses, such as balance, proprioception, and kinesthesis; pain; and potentially other human (...) and nonhuman senses. This “multisensory turn” has been driven partly by developments in contemporary psychology and neuroscience, which have revealed a host of complex interrelations and interactions between sensory modalities previously thought to be distinct. Contrasts between modalities and other crossmodal phenomena, including multisensory integration, synesthesia, and sensory substitution, have also begun to receive more attention in a burgeoning scientific and philosophical literature on multisensory perception and other crossmodal effects. This article focuses on recent empirically informed contributions to the philosophy of perception, as well as key scientific works that provide important background information and insights into the nature of the senses and sensory perception. Indeed, one of the lessons of the multisensory turn, and of contemporary philosophy of mind more generally, is that philosophers ignore this body of empirical research at their peril because many human and animal senses turn out to be richer and more complex than philosophers and scientists had previously imagined, making this a fruitful area for interdisciplinary interaction and research. (shrink)

Two experiments report on the construction of the Sense of Agency Rating Scale (SOARS), a new measure for quantifying alterations to agency. In Experiment 1, 370 participants completed a preliminary version of the scale following hypnosis. Factor analysis revealed two underlying factors: Involuntariness and Effortlessness. In Experiment 2, this two factor structure was confirmed in a sample of 113 low, medium and high hypnotisable participants. The two factors, Involuntariness and Effortlessness, correlated significantly with hypnotisability and pass rates for ideomotor, challenge (...) and cognitive items. Twelve week test-retest correlations showed that Involuntariness was highly stable, but Effortlessness only moderately stable. Analysis of the combined datasets from Experiments 1 and 2 showed both SOARS scores were significantly related to the derived factors of Woody, Barnier, and McConkey's (2005) 4-factor model of hypnotisability. This scale clarifies conceptual confusion around agentive action and provides empirical support for a multifactorial account of sense of agency. (shrink)

The thesis concerns the sense of self in Epictetus, with special reference to two key terms in his philosophy: prohairesis and prosopon. ;The first chapter explores the range of meaning behind the word prohairesis as Epictetus employs it. I begin by reviewing the background of the word, particularly in Aristotle. A discussion of the problem of free will and determinism in Stoic ethics follows, with reference to prohairesis in Epictetus. The implications of equating prohairesis with "the will" are then explored, (...) followed by a discussion of its significance as the complex of reason and desire, and as "intention." The first chapter concludes with a brief section on aidos in Epictetus, as an intimation of the notion of "conscience." ;Chapter Two extends the enquiry with particular attention to the word prosopon and Epictetus' view of roles as determinants of the self. The chapter opens with a review of the tradition of self-knowledge as a topos in Greek philosophy, and its importance for Epictetus. I then propose a taxonomy of the self as he understands it, organized under the categories of the "I" , the "me" and the "mine" . Two models of man, borrowed from Martin Hollis, are put forward as possible prototypes for Epictetus' perspective on "the person." Then the larger question of the Stoics' attitude toward society and social roles is addressed. The consequences of distinguishing between the first- and the third-person perspectives on "the person" are discussed. The chapter concludes with a section on the place of the body in Epictetus' thought, in connection with the dualism some scholars have ascribed to him. (shrink)

The present study attempts to reconstruct Husserl’s account of empirical illusion and hallucination and disclose the significance of sense-deception in Husserl’s phenomenology. By clarifying the relation between the “leibhaftige presence” and “existence” of perceived objects, I shall be able to contend that illusion and hallucination are nullified, invalid perceptions. Non-existence or in-actuality is a form of invalidity: the Ungültigkeit of what demands its insertion in the totality of actual existence. Husserl elaborates an ex-negativo account of in-actuality, in which sensory deception (...) refers to a modal modification, which is always relative and contextual in relation to the total nexus of experience in its intersubjectively validated and harmonious unfolding. (shrink)

Touch is the first sense to develop in the womb, yet often it is overlooked. The Senses of Touch examines the role of touching and feeling as part of the fabric of everyday, embodied experience. -/- How can we think about touch? Problems of touch and tactility run as a continuous thread in philosophy, psychology, medical writing and representations in art, from Ancient Greece to the present day. Picking through some of these threads, the book ‘feels’ its way towards (...) writing and thinking about touch as both sensory and affective experience. -/- Taking a broadly phenomenological framework that traces the tactility from Aristotle through the Enlightenment to the present day, it examines the role of touch across a range of experiences including aesthetics, digital design, visual impairment and touch therapies. The Senses of Touch thereby demonstrates the varieties of sensory experience, and explores the diverse range of our ‘senses’ of touch. (shrink)

It is often said that normative properties are “just too different” to reduce to other kinds of properties. This suggests that many philosophers find it difficult to believe reductive theses in ethics. I argue that the distinctiveness of the normative concepts we use in thinking about reductive theses offers a more promising explanation of this psychological phenomenon than the falsity of Reductive Realism. To identify the distinctiveness of normative concepts, I use resources from familiar Hybrid views of normative language and (...) thought to develop a Hybrid view of normative concepts. In addition to using this new Hybrid view to explain why reductive theses are difficult to believe, I show how to preserve several patterns of inference involving normative concepts that, intuitively, it is possible to make, and hence answer an important recent challenge to Hybrid views from Mark Schroeder. (shrink)

The sense of agency is a basic feature of our subjective experience. Experimental studies usually focus on either its attributional aspects or on its motoric aspects. Here, we combine both aspects and focus on the subjective experience of the time between action and effect. Previous studies [Haggard, P., Aschersleben, G., Gehrke, J., & Prinz, W.. Action, binding and awareness. In W. Prinz, & B. Hommel, Common mechanisms in perception and action: Attention and performance. Oxford: Oxford University Press] have shown a (...) temporal attraction in the perceived times of actions and effects, but did directly not study the relation between them. In three experiments, time estimates of an interval between an action and its subsequent sensory effect were obtained. The actions were either voluntary key press actions performed by the participant or kinematically identical movements applied passively to the finger. The effects were either auditory or visual events or a passive movement induced to another finger. The results first indicated a shortening of the interval between one’s own voluntary action and a subsequent effect, relative to passive movement conditions. Second, intervals initiated by observed movements, either of another person or of an inanimate object, were always perceived like those involving passive movements of one’s own body, and never like those involving active movements. Third, this binding effect was comparable for auditory, somatic and visual effects of action. Our results provide the first direct evidence that agency involves a generalisable relation between actions and their consequences, and is triggered by efferent motor commands. (shrink)

The paper addresses the phenomenology of inference. It proposes that the conscious character of conscious inferences is partly constituted by a sense of meaning; specifically, a sense of what Grice called ‘natural meaning’. In consciously drawing the (outright, categorical) conclusion that Q from a presumed fact that P, one senses the presumed fact that P as meaning that Q, where ‘meaning that’ expresses natural meaning. This sense of natural meaning is phenomenologically analogous, I suggest, to our sense of what (...) is said in fluently comprehending everyday utterances in our first language. The proposal that conscious inference involves a sense of natural meaning is compared with views according to which conscious inference involves taking the premises (i) to be good reasons for the conclusion (as defended by Thomson and Grice), (ii) to support it (as argued by Audi and, recently, Boghossian), or (iii) to imply it (as lately contended by Broome). I argue our proposal can explain certain phenomena handled by alternatives (i) and (ii), but that some further phenomena is handled by our account but not these alternatives. In relation to alternative (iii), I argue that, in so far as implicational and natural-meaning relations come apart, the latter are a better fit for what we sense or take to be so in conscious inference. (shrink)

Published in 1896, The Sense of Beauty secured Santayana's reputation as a philosopher and continued to outsell all of his books until the publication of his one novel, The Last Puritan. Even today, it is one of the most widely read volumes in all of Santayana's vast philosophical work. It is a large irony that Santayana disowned The Sense of Beauty from the beginning, and wrote it only to keep his job teaching at Harvard. In 1950 he met with the (...) philosopher Arthur Danto in the Roman convent clinic where he passed his final years, and reminisced that "they let me know through the ladies that I had better publish a book." "On what?" "On art, of course. So I wrote this wretched potboiler" In fact, the book was based on a well known course on the theory and history of aesthetics that Santayana gave at Harvard College from 1892 to 1895. Santayana approaches the study of aesthetics through a naturalistic basis in human psychology: "Beauty is pleasure regarded as the quality of a thing." As such, he observes, beauty does not reside in the object but in the individual's sense of beauty. This in no way reduces the importance or the value of art or aesthetic experience. For Santayana, beauty is not relegated to museum art or to some limited arena of aesthetic experience; rather, beauty informs the whole of human existence. Herman J. Saatkamp, Jr, heads the Department of Philosophy and Humanities at Texas A&M University. William G. Holzberger is a Professor of English at Bucknell University. Arthur C. Danto is a Professor of Philosophy at Columbia University. (shrink)