Cicero is one of the most important and influential thinkers within the history of Western philosophy. For the last thirty years, his reputation as a philosopher has once again been on the rise after close to a century of very low esteem. This Companion introduces readers to 'Cicero the philosopher' and to his philosophical writings. It provides a handy port-of-call for those interested in Cicero's original contributions to a wide variety of topics such as epistemology, the emotions, determinism and responsibility, (...) cosmopolitanism, republicanism, philosophical translation, dialogue, aging, friendship, and more. The international, interdisciplinary team of scholars represented in this volume highlights the historical significance and contemporary relevance of Cicero's writings, and suggests pathways for future scholarship on Cicero's philosophy as we move through the twenty-first century. (shrink)

In this paper, we argue that, barring a few important exceptions, the phenomenon we refer to using the expression “being moved” is a distinct type of emotion. In this paper’s first section, we motivate this hypothesis by reflecting on our linguistic use of this expression. In section two, pursuing a methodology that is both conceptual and empirical, we try to show that the phenomenon satisfies the five most commonly used criteria in philosophy and psychology for thinking that some (...) affective episode is a distinct emotion. Indeed, being moved, we claim, is the experience of a positive core value (particular object) perceived by the moved subject as standing out (formal object) in the circumstances triggering the emotion. Drawing on numerous examples, we describe the distinctively rich phenomenology characteristic of the experience as well as the far-reaching action-tendencies and functions associated with it. Having thus shown that the candidate emotion seem to satisfy the five criteria, we go on, in section three, to compare it with sadness and joy, arguing that it should not be confused with either. Finally, in section four, we illustrate the explanatory power of our account of “being moved” by showing how it can shed light on, and maybe even justify, the widespread distrust we feel towards the exhibition of ‘sentimentality’. On the whole and if we are right, we have uncovered an emotion which, though never or rarely talked about, is of great interest and no small importance. (shrink)

In this paper, we argue that, barring a few important exceptions, the phenomenon we refer to using the expression “being moved” is a distinct type of emotion. In this paper’s first section, we motivate this hypothesis by reflecting on our linguistic use of this expression. In section two, pursuing a methodology that is both conceptual and empirical, we try to show that the phenomenon satisfies the five most commonly used criteria in philosophy and psychology for thinking that some (...) affective episode is a distinct emotion. Indeed, being moved, we claim, is the experience of a positive core value (particular object) perceived by the moved subject as standing out (formal object) in the circumstances triggering the emotion. Drawing on numerous examples, we describe the distinctively rich phenomenology characteristic of the experience as well as the far-reaching action-tendencies and functions associated with it. Having thus shown that the candidate emotion seem to satisfy the five criteria, we go on, in section three, to compare it with sadness and joy, arguing that it should not be confused with either. Finally, in section four, we illustrate the explanatory power of our account of “being moved” by showing how it can shed light on, and maybe even justify, the widespread distrust we feel towards the exhibition of ‘sentimentality’. On the whole and if we are right, we have uncovered an emotion which, though never or rarely talked about, is of great interest and no small importance. (shrink)

INTRODUCTIONFor the last two and a half decades – perhaps spurred onwards by R. W. Hepburn's seminal, wonderfully sensitive and astute essay “Contemporary Aesthetics and the Neglect of Natural Beauty” – philosophical interest in the aesthetic appreciation of nature has been gaining momentum. One of the most coherent, powerfully argued, thorough, and philosophically compelling theories to emerge from this evolving arena of debate has been developed over a series of articles by Allen Carlson. The sophistication of Carlson's approach – especially (...) in terms of his careful style of argumentation – has raised the level of philosophical discussion concerning the aesthetic appreciation of nature immensely and it has taught us all what is at stake, logically and epistemologically, in advancing a theory of nature appreciation. Carlson has not only presented a bold theory of the aesthetic appreciation of nature; he has also refined a methodological framework and a set of constraints that every researcher in the field must address.Stated summarily, Carlson's view of the appreciation of nature is that it is a matter of scientific understanding; that is, the correct or appropriate form that the appreciation of nature – properly so called – should take is a species of natural history; appreciating nature is a matter of understanding nature under the suitable scientific categories. (shrink)

ABSTRACTPeople can be moved and overwhelmed, a phenomenon typically accompanied by goose-bumps and tears. We argue that these feelings of being moved are not limited to situations that are appraise...

Recent attempts to define being moved have difficulties agreeing on its eliciting conditions. The status quaestionis is often summarized as a question of whether the emotion is evoked by exemplifications of a wide range of positive core values or a more restricted set of values associated with attachment. This conclusion is premature. Study participants associate being moved with interactions with their loved ones not merely for what they exemplify but also for their affective bond to them. (...) Being moved is elicited when we apprehend the value of entities to which we are connected through basic as well as extended forms of affiliative attachment. These comprise people, certain objects, and even abstract entities, including the unshakable life-guiding ideas we call “core values.”. (shrink)

What are we moved to when we are moved by something? Sometimes to tears; other times to action; and, on other occasions, to quiet contemplation. When a member of the Sierra Club is moved by something, he or she may be moved to tears or to political activism; but ‘being moved by’ in such circumstances just might consist in feelings of awe. ‘Moved by’ carries an obvious suggestion of causality on its semantic face. (...) What I am moved by is what brings it about that I feel or act the way I do. To be ‘unmoved’ is to be unresponsive; or, at times, to lack compassion. To be moved by something or someone often involves having care or concern for that which is found moving. A variety of this sort of concern just could be an essential ingredient in the stance of the environmental preservationist. (shrink)

This article integrates John Dewey’s _Art as Experience_, Mikel Dufrenne’s _Phenomenology of Aesthetic Experience_, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains (...) two merged forms of intentionality: one overt aspect of perceptual intentionality directed at the work, and a covert affective intentionality directed back at oneself in one’s situated existence. These are operational simultaneously but can work in loops, one leading to an intensification of the other and vice versa. As such, these analyses emphasize the value of phenomenological interviews and advance the integration of phenomenological and pragmatist thinking in the context of aesthetic experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Being-Moved: Rhetoric as the Art of Listening by Daniel M. GrossNathaniel A. RiversBeing-Moved: Rhetoric as the Art of Listening. By Daniel M. Gross. Oakland: University of California Press, 2020. 260 pp. Paper $34.95. ISBN: 9780520340466.September 29, 2008. Radiohead front man Thom Yorke sits frustrated at his piano. Live on stage. He is trying to start a song, but something is tripping him up. The song (...) is “Videotape,” and he cannot start playing it. “Temporary loss of information,” he mumbles to an expectant crowd.The song “Videotape” is syncopated, meaning there is a “placement of rhythmic stresses or accents where they wouldn’t normally occur” (Wikipedia 2021). Practically, it means that Yorke is joining a song already in progress: there is a beat before the beat that “starts” the song. Yorke, then, is starting the song not on the down beat but after the down beat—after the song has already started. He needs to hear something before he can play anything. He needs to hear the beat before he can sing. “Give me the fuckin’ hi-hats only,” he asks.Yorke is moved by the drum and a beat not his alone. It is a beat preceding him to which he must become subject. He needs to listen, but it is a particular kind of listening: a passive listening that makes him, as it were, “subject to the instruction of others” (Gross 137).Like Yorke on stage in 2008, I struggled to start and write this review. Not for any fault in the book, which is clear and concise, complex and compelling, but because I wanted to write a review that practiced the art of listening Gross cultivates:Active listening [“auditor-as-judge”], as it is understood by theoreticians and practitioners of persuasion from classical antiquity through today, only takes off at dusk like Hegel’s owl of Minerva, leaving behind obscurities of our daily lives including our susceptibility [End Page 190] to advertising, our political apathy, our immersion in common-sense, our lovely credulity, our vulnerability to others, our very capacity to learn and change. We have much work ahead when it comes to the theoretical and practical nuances of listening in its passive dimensions.(137)This review practices listening to this call in this way. The worry remains that the genre of the book review tends toward what Gross identifies as active listening: the judge, the critic. I should probably be the “active listener-as-judge” (83). Surely, a good reviewer should protect future readers from a “bad teacher” (131). But how should a book review practicing passive listening read? Does it aim for learning? Surely. Credulity? Why not. Subjection? Hmm.... It is, after all, subjection that lies at the heart of Gross’s book. Subjection is the beat before the beat that is rhetoric, an art forever syncopated.There are many aspects of Gross’s argument, which I will hear out below, but key for me, and crucial for Gross’s argument, is his emphasis on passive dispositions (e.g., apathy, adherence, suggestibility, attentiveness, etc.) crucial to political formations and so vital to rhetoric. Being moved, toward which rhetoric (sacred rhetoric especially) bends, must admit not only to the prowess and power of the rhetor but also, necessarily, to the “basic vulnerability that lies at the heart of political agency itself ” (1). Indeed, “Rhetoric as a life science depends upon those lives affected” (8). Because of this dependence (and dependencies saturate the arts of listening), “rhetoric offers much more detail because it is the traditional domain where subjection is both theorized and practiced” (3).To articulate this offer, Gross works through what he describes as the “orphaned materials of modernity [that] often turn out to be vital strains of a different geology altogether” (12). Gross is here describing his own historiographic methodology. There are other things to hear in and about rhetoric. The core of his argument isn’t simply that listening is a practice important to rhetoric, with listening understood as a kind of critical facility—what Gross calls “active listener-as-judge” (83–84). Listening, for Gross, through his approach to Heidegger, bears upon being and becoming... (shrink)

Emotion Review, Volume 13, Issue 4, Page 299-305, October 2021. According to recent accounts, we experience the emotion of “being moved” when a situation brings into play our core values. What are the core values evoked by nonhuman landscapes, however, particularly as the distinction between man-made and natural environments becomes increasingly blurry in the so-called Anthropocene? That is the central question tackled by this article. I start by rethinking the sublime as an affect that, since Romanticism, has shaped (...) Western attitudes toward nature. I argue that today's climate crisis calls for an expansion of our affective engagement with the nonhuman: the sublime can be part of our emotional repertoire, but only if it is complicated by feelings that point to constitutive human–nonhuman entanglement. (shrink)

Emotion Review, Volume 13, Issue 4, Page 282-288, October 2021. Efforts to identify in the expression “being moved” a new emotion have found a hospitable environment in the recent turn to the body in emotion and cognitive studies, exemplified herein affect theory, with a particular focus on the effects of music. Although classical Greek and Latin had comparable expressions, however, they did not single out a specific emotion. Given that music played an important role in ancient educational theories, (...) and was imagined as having arousing powerful reactions, this might seem a curious absence. The reason, at least in part, maybe the strong cognitive conception of emotions characteristic of classical theories. But this should not discourage the search for emotions that are not included in the ancient canons. (shrink)

In a chapter that hones in on certain Renaissance portraits by Hans Holbein, Giorgione, and Jan van Scorel, Hans Maes examines how it is that we can be deeply moved by such portraits, despite (or perhaps because of) the fact that we don’t know anything about their sitters. Standard explanations in terms of the revelation of an inner self or the recreation of a physical presence prove to be insuffi cient. Instead, Maes provides a more rounded account of what (...) makes said portraits moving and memorable, thereby relying on Barthes’ notion of ‘punctum,’ James Elkins’ account of why people cry in front of paintings, and a phenomenological exploration of the parallel between portraiture and the tradition of the Vanitas painting. (shrink)

If rhetoric is the art of speaking, who is listening? In Being-Moved, Daniel M. Gross provides an answer, showing when and where the art of speaking parted ways with the art of listening-and what happens when they intersect once again. Much in the history of rhetoric must be rethought along the way. And much of this rethinking pivots around Martin Heidegger's early lectures on Aristotle's Rhetoric, where his famous topic, Being, gives way to being-moved. The (...) results, Gross goes on to show, are profound. Listening to the gods, listening to the world around us, and even listening to one another in the classroom-all of these experiences become different when rhetoric is reoriented from the voice to the ear. (shrink)

At the end of Lecture 3 of The Empirical Stance, Bas van Fraassen suggests that we see the change of view involved in scientific revolutions as being, at least in part, emotional. In this paper, I explore one plausible way of cashing out this suggestion. Someone’s emotional approval of a description of the world, I argue, thereby shows that she takes herself to have reason to take that description seriously. This is true even if she is convinced—as a scientific (...) community is when it considers alternative theories—that this description is false, that it is not the way the world is. (shrink)

The main idea of Being-Moved is that the epistemological concept of human nature, as professed by Michel Foucault, need not be an eighteenth-century invention conceived as a natural science biopowe...

Susan Wolf proposes that there is a virtue of character we all dimly recognize but cannot put a name to, a virtue that involves living with an expectation and a willingness to take responsibility for more than what one is rationally on the hook for. For Wolf, recognizing this virtue helps explain why we should feel moved to offer up our time and resources to help resolve the problems we become entangled with by accident. In this thesis, I argue (...) that her account of the nameless virtue does not go far enough and thus does not do justice to her “irrationalist” impulse but that we can look to Heideggerian authenticity in order to make the requisite changes while preserving her core sentiment. So, I present an interpretation of authenticity that focuses on reticence, anticipation, and resoluteness in order to develop a better model for assessing her moral luck cases. (shrink)

In the age of Anthropocene, can aesthetics propose a not prevaricating behavioural model towards nature, leading to a new conception of humanity based on our being moved by nature? In this article, we will try to answer this question, exploring how some exponents of contemporary Environmental Aesthetics have examined the significance of human emotional responses to nature. Starting from the assumption that Kant defines the sublime as a motion of the soul, we wonder how aesthetics can reinterpret this (...) concept to affirm not human superiority over nature but his being part of it. To do so, we will turn our attention not only to some exponents of Environmental Aesthetics but also to Schopenhauer's concept of the sublime and the thought of Arne Næss, the father of the Deep Ecology movement. (shrink)

This paper draws on an in-depth phenomenological analysis of some interviews taken from volunteers, inviting them to reflect on their lived experiences of meaningfulness in the context of volunteering and citizenship. It is found that while some testimonies reinforce the standard conceptions of meaningfulness, other testimonies vary from it. The main challenge of this contribution consists in phenomenologically describing this alternative picture of meaningfulness, depicted as the event of wit(h)nessing. In a final part, the authors consider how volunteering is at (...) times especially prone to further experiences of wit(h)nessing. (shrink)

This paper draws on an in-depth phenomenological analysis of some interviews taken from volunteers, inviting them to reflect on their lived experiences of meaningfulness in the context of volunteering and citizenship. It is found that while some testimonies reinforce the standard conceptions of meaningfulness, other testimonies vary from it. The main challenge of this contribution consists in phenomenologically describing this alternative picture of meaningfulness, depicted as the event of witnessing. In a final part, the authors consider how volunteering is at (...) times especially prone to further experiences of witnessing. (shrink)

This article suggests an assembly of ideas collected from transdisciplinary areas that in integration can potentially cast light on the role of affect and feeling in aesthetic experience. The article takes up a well-known philosophical quest to define the nature of aesthetic experience, but seeks out new territories of explanation that rest upon principles of rhetorical integration across a seemingly ambiguous landscape of separated theories, and under a dynamic, connective observatory perspective. The aim of the article is thus to suggest (...) a rhetorical design integrating results from the fields of neuroscience, biosemiotics, medical theory and philosophy of art, which could potentially result in an extension of traditional understandings of the roles of affect and feeling in processes of communication. I see the space of installation art, based on new technology and science, as a possible laboratory for the speculative mind, to which such investigations could be successfully related. I find that contemporary installation artworks can if successful induce an activation of processes intrinsic to the bodymind, which can bring forward new imaginations, new metaphors and extended self-understandings. (shrink)

When do people say that they are moved, and does this experience constitute a unique emotion? We review theory and empirical research on being moved across psychology and philosophy. We examine feeling labels, elicitors, valence, bodily sensations, and motivations. We find that the English lexeme being moved typically (but not always) refers to a distinct and potent emotion that results in social bonding; often includes tears, piloerection, chills, or a warm feeling in the chest; and (...) is often described as pleasurable, though sometimes as a mixed emotion. While we conclude that it is a distinct emotion, we also recommend studying it in a more comprehensive emotion framework, instead of using the ambiguous vernacular term being moved as a scientific term. (shrink)

When engaging with magic, we are moved by seemingly impossible events that contradict what we believe to be possible in the real world. We are surprised, curious, and baffled when we cannot explain how the magic we are witnessing is possible. We generally understand the events to be illusions. But how is it possible to be moved by something we know to be unreal? This problem is related to the paradox of fiction in aesthetics. Here, we introduce the (...) problem in the domain of theatrical magic, discuss possible solutions, and present a tentative account that allows us to accommodate inconsistent, seemingly incompatible beliefs at different representational levels in the viewers’ mind. (shrink)

Dynamic body feedback is used in dance movement therapy, with the aim to facilitate emotional expression and a change of emotional state through movement and dance for individuals with psychosocial or psychiatric complaints. It has been demonstrated that moving in a specific way can evoke and regulate related emotions. The current study aimed to investigate the effects of executing a unique set of kinetic movement elements on an individual mover’s experience of happiness. A specific sequence consisting of movement elements that (...) recent studies have related to the feeling of happiness was created and used in a series of conditions. To achieve a more realistic reflection of DMT practice, the study incorporated the interpersonal dimension between the dance movement therapist and the client, and the impact of this interbodily feedback on the emotional state of the client. This quantitative study was conducted in a within-subject design. Five male and 20 female participants participated in three conditions: a solo executed movement sequence, a movement sequence executed with a DMTh who attuned and mirrored the movements, and a solo executed movement sequence not associated with feelings of happiness. Participants were only informed about the movements and not the feelings that may be provoked by these movements. The effects on individuals were measured using the Positive and Negative Affect Schedule and visual analog scales. Results showed that a specific movement sequence based on movement elements associated with happiness executed with a DMTh can significantly enhance the corresponding affective state. An additional finding of this study indicated that facilitating expressed emotion through movement elements that are not associated with happiness can enhance feelings such as empowerment, pride, and determination, which are experienced as part of positive affect. The results show the impact of specific full-body movement elements on the emotional state and the support outcome of DMT on emotion regulation. (shrink)

Political advertising to recruit the support of voters is an inherent part of politics. Today, ads are distributed via television and online, including social media. This type of advertisement attempts to recruit support by presenting convincing arguments and evoking various emotions about the candidate, opponents, and policy proposals. We discuss recent arguments and evidence that a specific social emotion, namely the concept kama muta, plays a role in political advertisements. In vernacular language, kama muta is typically labeled as being (...) moved or touched. We compare kama muta and anger theoretically and discuss how they can influence voters’ willingness to support a candidate. We then, for the first time, compare kama muta and anger empirically in the same study. Specifically, we showed American participants short political ads during the 2018 United States midterm election campaigns. All participants saw both kama muta- and anger-evoking ads from both Democratic or Republican candidates. In total, everybody watched eight ads. We assessed participants’ degree of being moved and angered by the videos and their motivation for three types of political support: ideational, financial, and personal. The emotional impact of an ad depended on its perceived source: Participants felt especially angry after watching the anger-evoking ads and especially moved by moving ads if they identified with the political party that had produced the video. Both emotions mediated were associated with increased intentions to provide support. Importantly, if one of the two emotions was evoked, its effect on political support was enhanced if participants identified with the party that had produced the ad. We discuss limitations of the method and implications of the results for future research and practice. (shrink)

It is widely assumed that we can meaningfully talk about emotional reactions as being appropriate or inappropriate. Much of the discussion has focused on one kind of appropriateness, that of fittingness. An emotional response is appropriate only if it fits its object. For instance, fear only fits dangerous things. There is another dimension of appropriateness that has been relatively ignored — proportionality. For an emotional reaction to be appropriate not only must the object fit, the reaction should be of (...) the appropriate intensity. It should be proportional. The problem for any attempt to develop norms of appropriateness is that proportionality is a factor of how much the person cares about the focus. But, as I argue, it is not clear how we should normatively assess care. I present problems for a few ways to assess the normativity of care and argue that the difficulties are compounded when it comes to fiction. (shrink)

ABSTRACTPeople sometimes say they are “moved” or “touched” by something. Although the experience is familiar to most, systematic research on being moved has just begun. The current research aims to advance our understanding of the prototypical elicitors of being moved. We tested the hypothesis that being moved is elicited by core values that manifest themselves in circumstances that are unfavourable to their emergence. In three experiments, two with text stimuli and one with pictorial (...) stimuli, we found compelling evidence that the same core value is perceived as more moving when it emerges in unfavourable than in favourable circumstances. The effect was found in both males and females, although stronger in the latter group, and across all investigated core values, although love was generally more moving than other core values. The theoretical and practical significance of these findings is discussed. (shrink)

There are two no-change objections that can be raised against the B-theory of time. One stems from the observation that in a B-theoretic scenario changes of determinations can only be represented by propositions which have eternal truth values. The other derives from the principle that nothing can vary over a period of time if it doesn’t instantiate a state of change at all the instants of time which compose it. Here I argue that both objections apply to all comparative conceptions (...) of change, regardless of whether they take tense seriously or not. It follows that, contrary to what is widely believed, A-theoretic accounts of time are not immune to no-change objections, just in virtue of being realist about tense. A-theorists must either accept the conclusion that time, according to their account, does not flow, or put forward an account of flow that is not comparative. A number of difficulties with both of these options are discussed. (shrink)

Telling tales and reading have been a part of human activity for a very long time. We review in brief the anthropological evidence, then the emergence of the 'modern novel'. This explores in narratives the psychological reflections of the characters concerned with life circumstances including loss, abandonment, despair, illness, dying, and death. We report findings that the response of crying to a novel occurs as often as to music, not reported before: both 'move us'. We note what several critics and (...) authors imply about the imagined world of 'novel space' which emphasizes the active not passive nature of reading dramatic action, the latter being embedded and embodied within us. This touches on the mind–brain problem. We provide a brief introduction to neuroscientific work with brain imaging revealing how cerebral networks to do with theory of mind and brain structures that are the basis of our movements are involved with the very act of reading words and narratives. Emotional tearing is an exclusive attribute of Homo sapiens, and crying can have positive benefits for mental health. We argue that bibliotherapy needs greater attention than has been the case at present. We also suggest that telling tales and the 'modern novel' are closely allied to the development of the consciousness of Homo sapiens. (shrink)

Emotion Review, Volume 13, Issue 4, Page 277-281, October 2021.

Physical literacy, a concept introduced by Britain’s physical education and phenomenological scholar, Margaret Whitehead, who aligned the term with her monist view of the human condition and emphasis that we are essentially embodied beings in-the-world, is a foundational hub of recent physical education curricular revision. The adoption of the term serves a political purpose as it helps stakeholders advocate for the educational, specifically literacy, rights of the whole child. Yet, one might wonder what impact conceptual shifts of becoming “physically literate” (...) in lieu of becoming “physically educated” have on physical education research and practice. Terms such as “reading” the game and metaphors that describe the body as an “instrument of expression” are entering the lexicon of physical education but from a seemingly cognitive frame of reference. Arguably, the extent to which the adoption of physical literacy has on dissolving Cartesian views of the body and the mechanization of movement it performs has yet to be questioned. This article thus acts as an invitation to explore physical literacy in a Merleau-Pontian inspired act of inscribing the world through movement and how a reading of a reversible imprint might awaken a more fluent sense of what it means to become physically literate as new curricular pathways in the field of physical education emerge. (shrink)

The classical response to Zeno’s paradoxes goes like this: ‘Motion cannot properly be defined within an instant. Only over a period’ (Vlastos.) I show that this ob-jection is exactly what it takes for Zeno to be right. If motion cannot be defined at an instant, even though the object is always moving at that instant, motion cannot be defined at all, for any longer period of time identical in content to that instant. The nonclassical response introduces discontinuity, to evade the (...) paradox of infinite proximity of any point of a distance with any ‘next’. But it introduces the wrong sort of discontinuity because, rather than assuming the discontinuity of motion, as Quantum Theory does, it assumes the discontinuity of space. Due then to the resulting spacetime disorder, though all else is certainly lost, the Tortoise now turns up at least as fast as Achilles and hence not even this much is rescued. Zeno rejects motion because he shows that a moving object must be where it is not. Hence motion, if to occur, must violate the Law of Contradiction (LNC). Applying the concept of quantum discontinuity, I produce an alternative. If an object is to move discontinuously between two boundary points, A and B, what actually obtains is, rather, that it is nowhere at all in-between A and B. And cannot therefore be at two places in-between A and B. And cannot therefore be where it is not. Thus, LNC is conserved. However, in these conditions, the Law of the Excluded Middle (LEM) fails. To mitigate the undesirability of this effect, I show that LEM fails because LNC holds. Thus, the resulting nonbivalent logic, which is also appropriate for quantized transitions of all kinds, will always turn up nonbivalent, because consistent. And this is not too bad, considering. (shrink)

The classical response to Zeno’s paradoxes goes like this: ‘Motion cannot properly be defined within an instant. Only over a period’ (Vlastos.) I show that this ob-jection is exactly what it takes for Zeno to be right. If motion cannot be defined at an instant, even though the object is always moving at that instant, motion cannot be defined at all, for any longer period of time identical in content to that instant. The nonclassical response introduces discontinuity, to evade the (...) paradox of infinite proximity of any point of a distance with any ‘next’. But it introduces the wrong sort of discontinuity because, rather than assuming the discontinuity of motion, as Quantum Theory does, it assumes the discontinuity of space. Due then to the resulting spacetime disorder, though all else is certainly lost, the Tortoise now turns up at least as fast as Achilles and hence not even this much is rescued. Zeno rejects motion because he shows that a moving object must be where it is not. Hence motion, if to occur, must violate the Law of Contradiction (LNC). Applying the concept of quantum discontinuity, I produce an alternative. If an object is to move discontinuously between two boundary points, A and B, what actually obtains is, rather, that it is nowhere at all in-between A and B. And cannot therefore be at two places in-between A and B. And cannot therefore be where it is not. Thus, LNC is conserved. However, in these conditions, the Law of the Excluded Middle (LEM) fails. To mitigate the undesirability of this effect, I show that LEM fails because LNC holds. Thus, the resulting nonbivalent logic, which is also appropriate for quantized transitions of all kinds, will always turn up nonbivalent, because consistent. And this is not too bad, considering. (shrink)

Since 1985, the US Animal Welfare Act and Public Health Service policy have required that researchers using nonhuman primates in biomedical and behavioral research develop a plan “for a physical environment adequate to promote the psychological well-being of primates.” In pursuing this charge, housing attributes such as social companionship, opportunities to express species-typical behavior, suitable space for expanded locomotor activity, and nonstressful relationships with laboratory personnel are dimensions that have dominated the discussion. Regulators were careful not to direct a (...) specific set of prescriptions (i.e., engineering standards) for the attainment of these goals, but to leave the design of the programs substantially up to “professional judgment” at the local level. Recently, however, the Institute of Medicine, in its path-finding 2011 report on the necessity of chimpanzee use in research, bypassed this flexible and contingent concept, and instead, required as a central precondition that chimpanzees be housed in “ethologically appropriate” environments. In so doing, obligations of ethical treatment of one great ape species were elevated above the needs of some research. The evolution and significance of this change are discussed. (shrink)