Dr. Wayne W. Dyer has researched intention as a force in the universe that allows the act of creation to take place. Here he explores intention - not as something we do - but as an energy we're a part of. We're all intended here through the invisible power of intention - a magnificent field of energy we can access to begin co-creating our lives.

We use the Newell Test as a basis for evaluating ACT-R as an effective architecture for cognitive engineering. Of the 12 functional criteria discussed by Anderson & Lebiere (A&L), we discuss the strengths and weaknesses of ACT-R on the six that we postulate are the most relevant to cognitive engineering.

We have argued that Lehrer's definitions of coherence and justification have serious technical defects. As a result, the definition of justification is both too weak and too strong. We have suggested solutions for some of the problems, but others seem irremediable. We would also argue more generally that if coherence is anything like what Lehrer's theory says it is, then coherence is neither necessary nor sufficient for justification. While our current objections are directed at the ‘letter’ of Lehrer's theory, other (...) criticisms can be aimed at its very ‘spirit’. We would argue that coherence is unnecessary for justification because of the existence of ‘basic beliefs’, those about self-presenting states (‘I have a tingling sensation in my leg’) or self-evident truths (‘All men are men’). Such beliefs may be justified even though there are no other propositions in the subject's acceptance system that makes them more probable than competitors. Coherence is, moreover, insufficient for justification, because it ignores the inferential structure of the subject's acceptance system, and requires no justification of any kind for the subject's acceptance system itself. But we must develop these more fundamental objections on another occasion. (shrink)

Charles Hartshorne: Biography and Psychology of Sensation Charles Hartshorne is widely regarded as having been an important figure in twentieth century metaphysics and philosophy of religion. His contributions are wide-ranging. He championed the aspirations of metaphysics when it was unfashionable, and the metaphysic he championed helped change some of the fashions of philosophy. He counted … Continue reading Hartshorne: Biography and Psychology of Sensation →.

Charles Hartshorne: Theistic and Anti-Theistic Arguments Charles Hartshorne is well known in philosophical circles for his rehabilitation of Anselm’s ontological argument. Indeed, he may have written more on that subject than any other philosopher. He considered it to be the argument that, more than any other, reveals the logical status of theism. Nevertheless, he always … Continue reading Hartshorne Theistic and Anti-Theistic Arguments →.

Charles Hartshorne: Dipolar Theism From the beginning to the end of his career Charles Hartshorne maintained that the idea that “God is love” was his guiding intuition in philosophy. This “intuition” presupposes both that there is a divine reality and that that reality answers to some positive description of being a loving God. This article … Continue reading Hartshorne, Charles : Dipolar Theism →.

Charles Hartshorne: Neoclassical Metaphysics Charles Hartshorne was an intrepid defender of the claims of metaphysics in a century characterized by its anti-metaphysical genius. While many influential voices were explaining what speculative philosophy could not accomplish or even proclaiming an end to it, Hartshorne was trying to show what speculative philosophy could accomplish. Metaphysics, he … Continue reading Hartshorne, Charles: Neoclassical Metaphysics →.

It describes and explains the patient-centered model examining and evaluating qualitative and quantitative research. It comprehensively covers the evolution and the six interactive components of the patient-centered clinical method, taking the reader through the relationships between the patient and doctor and the patient and clinician. All the editors are professors in the Department of Family Medicine at the University of Western Ontario, London, Canada.

The most up-to-date reader with cases in professional ethics available.What does it mean to be an ethical professional? A professional career can be so demanding that it permeates every aspect of a person's life and personality. In light of this fact, it is especially important for students who are planning to enter a chosen profession to understand its moral status,moral virtues, and possible moral pitfalls, so that they will be equipped to deal with the inevitable moral quandaries that they will (...) encounter as professionals.The most up-to-date professional ethics reader available, Ethics Across the Professions analyzes the complex ethical issues that arise in such fields as engineering, finance, healthcare, journalism, and law. Featuring a wide array of both classic and contemporary sources, it ranges from works byAristotle and Kant to selections by Michael Bayles, Sissela Bok, Paul Ekman, and Thomas Nagel. Organized topically, the anthology covers what it means to be a professional, outlines several ethical models, and addresses key issues including deception in professional life, privacy, loyalty, socialwelfare, conflicts of interest, and self-regulation. The book includes detailed chapter introductions, several practical case studies at the end of each chapter, and provocative discussion questions on issues like "whistle-blowing," the Iraq War, educating illegal immigrant children, andadvertisements for pharmaceutical companies. Edited by three renowned ethicists, Ethics Across the Professions is especially suited for introductory professional ethics courses taught in philosophy departments as well as in nursing schools, business schools, and other professional programs. (shrink)

It is strange to write for the pages of this journal a statement which will not come under the eye of its founding editor, Sheldon Sacks. For nearly five years everything that appeared in Critical Inquiry—articles, critical responses, editorial comments—was a matter of painstaking and passionate concern to Shelly Sacks. With a flow of questions and suggestions and a talent for unabashed cajolery, he generated articles and rejoinders to those articles. He worked tirelessly in editorial consultation and correspondence with contributors, (...) especially young writers, helping them to discover the best way of giving form to their ideas. Among the essays submitted to this journal he searched eagerly, even anxiously, for those which seemed, in his words, "right for C.I." What was right for C. I. was never, for Shelly Sacks, a cut-and-dried choice. In his own intellectual life, in his teaching and writing, he delighted in arguing important general questions: theories of representation in the arts, points of possible intersection between linguistic science and literary criticism, the interplay of social forces and cultural expressions. Not surprisingly, in reconnoitering for Critical Inquiry, he found special satisfaction in identifying writers who shared his passion for reexamining fundamental topics in the intellectual disciplines. If such writers made their case forcefully, so much the better: in choosing an essay for publication he assessed its capacity to stimulate interesting counterargument. At no time, however, did Shelly Sacks confuse his own beliefs with the nature of intellectual discourse. As an editor he was hospitable to writers whose premises he questioned and whose conclusions he deplored. Nor did Shelly attempt to achieve a spurious catholicity by following a quiet quota system designed to give each major line of interpretation—deconstructionist, Marxist, psychoanalytic, what have you—an occasional airing in Critical Inquiry. For Shelly each article stood on its own ground: if its author dealt responsibly and freshly with an interesting problem, that was enough. And, along with his commitment to theoretical inquiry, he responded warmly to the personal, the offbeat, the idiosyncratic. He regarded the feature Artists on Art, for example, as a central element in our design. As an editor Sheldon Sacks was above all a shaper. He labored to find and suggest connections in the phenomena of intellectual life. Even the construction of a table of contents for a typical Critical Inquiry issue became for him an opportunity to influence the reader's experience of what we offered. The eminence of an author or the allure of a title were put to one side as Shelly sought to orchestrate, through placement, a kind of intellectual counterpoint from one essay to another. Unheard melodies, doubtless, for many of us, but for Shelly real and sustaining. In this valedictory note we have spoken of Sheldon Sacks' editorial accomplishment—in our friendly view, a very distinguished one—rather than of the personal qualities which made working alongside him an exhilarating experience. We should report, however, that for more than half the life of this journal Shelly was ill and knew that the time available to him was likely to be relatively brief. Faced with this diminishing perspective, he did not—indeed it is more accurate to say he could not—moderate his involvement with the life of this journal. At his death, as at the launching of this enterprise, he held to the high ambition that Critical Inquiry encourage comeliness, vigor, and continuity in the discourse of our time. The appropriate "critical response" to this great loss is that Sheldon Sacks’ editorial colleagues, and our publisher, the University of Chicago Press, pledge whatever talents and energies we possess to the continuing life of the journal he imagined and brought into being. (shrink)

Visual working memory is a construct hypothesized to store a small amount of accurate perceptual information that can be brought to bear on a task. Much research concerns the construct's capacity and the precision of the information stored. Two prominent theories of VWM representation have emerged: slot-based and continuous-resource mechanisms. Prior modeling work suggests that a continuous resource that varies over trials with variable capacity and a potential to make localization errors best accounts for the empirical data. Questions remain regarding (...) the variability in VWM capacity and precision. Using a novel eye-tracking paradigm, we demonstrate that VWM facilitates search and exhibits effects of fixation frequency and recency, particularly for prior targets. Whereas slot-based memory models cannot account for the human data, a novel continuous-resource model does capture the behavioral and eye tracking data, and identifies the relevant resource as item activation. (shrink)

_341_ _Objectives: _In patients with multivessel disease both the detection of the culprit lesion and the exact allocation are important preconditions for sufficient treatment and improved outcome. In a vessel based approach the combination of quantitative coronary angiography and fractional flow reserve measured by a pressure wire should be advantageous compared to myocardial SPECT, as morphological and functional information is delivered simultaneously. Therefore our aim was to evaluate MS in the detection and allocation of hemodynamically significant stenoses obtained by the (...) combined gold standard QCA plus FFR in patients with multivessel disease. _Methods: _FFR and QCA of 95 vessels in 80 patients have been evaluated. Hemodynamically significant target lesions were defined as intermediate stenoses between 50 and 75% with an FFR. (shrink)

We estimate that 208,000 deep brain stimulation (DBS) devices have been implanted to address neurological and neuropsychiatric disorders worldwide. DBS Think Tank presenters pooled data and determined that DBS expanded in its scope and has been applied to multiple brain disorders in an effort to modulate neural circuitry. The DBS Think Tank was founded in 2012 providing a space where clinicians, engineers, researchers from industry and academia discuss current and emerging DBS technologies and logistical and ethical issues facing the field. (...) The emphasis is on cutting edge research and collaboration aimed to advance the DBS field. The Eighth Annual DBS Think Tank was held virtually on September 1 and 2, 2020 (Zoom Video Communications) due to restrictions related to the COVID-19 pandemic. The meeting focused on advances in: (1) optogenetics as a tool for comprehending neurobiology of diseases and on optogenetically-inspired DBS, (2) cutting edge of emerging DBS technologies, (3) ethical issues affecting DBS research and access to care, (4) neuromodulatory approaches for depression, (5) advancing novel hardware, software and imaging methodologies, (6) use of neurophysiological signals in adaptive neurostimulation, and (7) use of more advanced technologies to improve DBS clinical outcomes. There were 178 attendees who participated in a DBS Think Tank survey, which revealed the expansion of DBS into several indications such as obesity, post-traumatic stress disorder, addiction and Alzheimer’s disease. This proceedings summarizes the advances discussed at the Eighth Annual DBS Think Tank. (shrink)

"Although this book looks back mainly to Blake (after all, Locke could not have read Blake) it also looks past Blake to discover a Locke not given much shrift by Blake scholars. It does this in a constantly interesting sinuous juxtaposition of Blake's and Locke's views on a variety of subjects, some wonderfully unexpected. Glausser's grasp of his material is impressive, and he writes with admirable clarity.... A deft blending of historical, biographical, and interpretive scholarship."--Hazard Adams, Byron W. and Alice (...) L. Lockwood Professor of Humanities, University of Washington Locke and Blake is a composite critical biography of two giants of 18th-century culture. Organized by topics of cultural significance for the period, it weaves together two lives, focusing on critical topics as opposed to biographical details, in order to illuminate ideas of Locke and Blake and the cultural contexts and transformations of the "period" they shared. Glausser begins each chapter by sketching a biographical connection between the two men, which in turn leads to a broader discussion of textual as well as cultural significance. From their shared experience of having had paintings stolen by a friend, for instance, Glausser details the two men's angry responses and then explores the larger social issue of private property at each end of the 18th century. Other points of correspondence include mothers and lovers, charges of sedition, medicine and the body, slavery, and printing. Glausser's new approach to the lives and ideas of Locke and Blake offers a more balanced treatment of their relationship than has been available in the past. Through this juxtaposition and rethinking of the two traditional "antagonists" of the period, he moves beyond adversarial caricatures of temperament, faculty, ideology, and intention and illuminates both the century and the two intellectual giants who stood at either end of it. Wayne Glausser is professor of English at DePauw University and author of articles on Locke and Blake as well as various topics in recent American fiction and popular culture. (shrink)

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What I am calling for is not as radically new as it may sound to ears that are still tuned to positivist frequencies. A very large part of what we value as our cultural monuments can be thought of as metaphoric criticism of metaphor and the characters who make them. The point is perhaps most easily made about the major philosophies. Stephen Pepper has argued, in World Hypotheses,1 that the great philosophies all depend on one of the four "root metaphors," (...) formism, mechanism, organicism, and contextualism, and they are great precisely because they have so far survived the criticism of rival metaphors. Each view of the totality of things claims supremacy, but none has been able to annihilate the others. They all thus survive as still plausible, pending further criticism through further philosophical inquiry. In this view, even the great would-be literalists like Hobbes and Locke are finally metaphorists—simply committed to another kind of metaphor, one that to them seems literal. Without grossly oversimplifying we could say that the whole work of each philosopher amounts to an elaborate critique of the inadequacy of all other philosophers' metaphors. What is more, the very existence of a tradition of a small group of great philosophies is a sign that hundreds of lesser metaphors for the life of mankind have been tested in the great philosophical—that is, critical—wars and found wanting. · 1. World Hypotheses: A Study in Evidence . In Concept and Quality: A World Hypothesis , Pepper suggests that "the purposive act" is a fifth root metaphor. Wayne C. Booth's is the author of, among other works, Critical Understanding: The Powers and Limits of Pluralism. His contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , "M. H. Abrams: Historian as Critic, Critic as Pluralist" , "'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W. J. T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

The issue of physician-assisted death is now firmly on the American public agenda. Already legal in five states, it is the subject of intense public opinion battles across the country. Driven by an increasingly aging population, and a baby boom generation just starting to enter its senior years, the issue is not going to go away anytime soon. In this book L.W. Sumner equips readers with everything they need to know to take a reasoned and informed position in this important (...) debate. (shrink)

Mad about it they still were, in 1926, when Hemingway's splendid spoofing appeared in The Sun Also Rises. But it was not everybody who had been responsible. It was mainly Anatole France, abetted by his almost unanimously enthusiastic critics. And of all his works, the one that must have seemed to fit the formula best was Thaïs, already a quarter of a century old when Jake Barnes learned of irony and pity. It is not a bad formula for the effect (...) of Thaïs, as formulas go. It is at least as useful—and at least as misleading—as "pity and fear" for tragedy. There is, however, a surprising difference. If I tell you the story of any classical tragedy, even in very brief form, you will know at once why someone might talk about that story using the terms "pity" and "fear." But if I tell you of the priest who lost his soul converting the prostitute, you will not be able to predict any determinate reaction—except perhaps that the story will have for everyone a slight bit of ironic wonder at the grand reversal. In other words, a teller will be able to turn such material almost any direction he chooses, making it into a tragedy, a comedy, a farce, a celebration of God's wonder and mystery—or a tale playing with pity and irony. Wayne C. Booth's most recent books are A Rhetoric of Irony and Modern Dogma and the Rhetoric of Assent. He is now completing a book on critical warfare and critical pluralism . A version of one chapter from that book, "M.H. Abrams: Historian as Critic, Critic as Pluralist," will appear in the Spring issue of Critical Inquiry. Other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" , "Ten Literal ‘Theses’" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

Kenneth Burke is, at long last, beginning to get the attention he de- serves. Among anthropologists, sociologists, psychologists, and rhetori- cians his "dramatism" is increasingly recognized as something that must at least appear in one's index, whether one has troubled to understand him or not. Even literary critics are beginning to see him as not just one more "new critic" but as someone who tried to lead a revolt against "narrow formalism" long before the currently fashionable explosion into the "extrinsic" (...) had been dreamed of. I have recently heard him called a structuralist-before-his-time-and what could be higher praise than that! But in almost everything said about his literary criticism, there is an air of condescension that is puzzling. The tone seems usually to echo that of Rene Wellek , who, as Burke himself laments , "almost overwhelms me with praise," referring to "men of great gifts, nimble powers of combination and association, and fertile imagination," but then deplores Burke's irresponsibility, repudiates his critical judgments, condemns his general method without bothering to look closely at it, and in general makes him look like some sort of idiot savant-a buffoon with a high IQ.Wayne C. Booth received the Phi Beta Kappa Christian Gauss Award in 1962 for his book The Rhetoric of Fiction. His most recent works, A Rhetoric of Irony and Modern Dogma and the Rhetoric of Assent, appeared this year. His contributions to Critical Inquiry include "Irony and Pity Once Again: Thais Revisited" , "M.H. Abrams: Historian as Critic, Critic as Pluralist" , "THE LIMITS OF PLURALISM: 'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "CRITICAL RESPONSE: Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter and W.J.T. Mitchell: "EDITORS' NOTE: Sheldon Sacks 1930-1979". (shrink)

When M. H. Abrams published a defense, in 1972, of "theorizing about the arts,"1 some of his critics accused him, of falling into subjectivism. He had made his case so forcefully against "the confrontation model of aesthetic criticism," and so effectively argued against "simplified" and "invariable" models of the art work and of "the function of criticism," that some readers thought he had thrown overboard the very possibility of a rational criticism tested by objective criteria. In his recent reply to (...) these critics,2 Abrams concentrates almost entirely on whether his critical pluralism is finally a skeptical relativism. He does not even mention his great historical works, The Mirror and the Lamp and Natural Supernaturalism, and he has nothing to say about how his pluralistic theories would be applied to the writing of history. But then, surprising as it seems once we think about it, neither of the two histories has much about his method either. What is the true achievement of these aggressive raids into our past, and how does Abrams see them in relation to other possible histories of the same subjects? Knowing in advance that he has agreed to reply to my nudging, I should like both to propose that everyone has—with Abrams' own encouragement—understated the importance of what he has done and to ask: What kind of pluralist is he? · 1. "What's the Use of Theorizing about the Arts," In Search of Literary Theory, ed. Morton Bloomfield , pp. 3-54. · 2. "A Note on Wittgenstein and Literary Criticism," ELH 41 : 541-54. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , >"Preserving the Exemplar: Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: “Sheldon Sacks 1930-1979”. (shrink)

At first thought, our question of the day seems to be "about the text itself." Is there, in all texts, or at least in some texts, what Abrams calls "a core of determinate meanings," "the central core of what they [the authors] undertook to communicate"? Miller has seemed to find in the texts of Nietzsche a claim that there is not, that "the same text authorizes innumerable interpretations: There is no 'correct' interpretation. . . . reading is never the objective (...) identifying of a sense but the importation of meaning into a text which has no meaning 'in itself.'" Abrams claims that Miller cannot report on Nietzsche's deconstructionist claims without violating them: Miller seems to claim that he has found something that Nietzsche's text really says, not something that Miller himself merely brought to it. Is this objection a quibble or a clincher?1 · 1. See my "M.H. Abrams: Historian as Critic, Critic as Pluralist," Critical Inquiry 2 : 411-45, and Abrams' reply, "Rationality and Imagination in Cultural History," pp. 447-64, esp. 456-58. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)