Multiple-universe theories (involving the saturation of a state space of alternative universes) enjoy growing popularity as proposed counters to the design-suggestiveness of increasingly impressive cosmic fine-tuning cases. In this paper I explore this type of counter, and argue that (i) multiple-universe theoriesdo not necessarily undercut the design relevance of cosmic fine-tuning, that (ii) both the required saturation and the hypothesized mechanisms supposed to generate such saturation face seriously non-trivial constraints, and that (iii) in some cases the specific characteristics of such (...) saturations may themselves be suggestive of design. (shrink)

The visual system is known to extract summary representations of visually similar objects which bias the perception of individual objects toward the ensemble average. Although vision plays a large role in guiding action, less is known about whether ensemble representation is informative for action. Motor behavior is tuned to the veridical dimensions of objects and generally considered resistant to perceptual biases. However, when the relevant grasp dimension is not available or is unconstrained, ensemble perception may be informative (...) to behavior by providing gist information about surrounding objects. In the present study, we examined if summary representations of a surrounding ensemble display influenced grip aperture and orientation when participants reached-to-grasp a central circular target which had an explicit size but importantly no explicit orientation that the visuomotor system could selectively attend to. Maximum grip aperture and grip orientation were not biased by ensemble statistics during grasping, although participants were able to perceive and provide manual estimations of the average size and orientation of the ensemble display. Support vector machine classification of ensemble statistics achieved above-chance classification accuracy when trained on kinematic and electromyography data of the perceptual but not grasping conditions, supporting our univariate findings. These results suggest that even along unconstrained grasping dimensions, visually-guided behaviors toward real-world objects are not biased by ensemble processing. (shrink)

Do we see more than we can report? Psychologists and philosophers have been hotly debating this question, in part because both possibilities are supported by suggestive evidence. On one hand, phenomena such as inattentional blindness and change blindness suggest that visual awareness is especially sparse. On the other hand, experiments relating to iconic memory suggest that our in-the-moment awareness of the world is much richer than can be reported. Recent research has attempted to resolve this debate by showing that (...) observers can accurately report the color diversity of a quickly flashed group of letters, even for letters that are unattended. If this ability requires awareness of the individual letters’ colors, then this may count as a clear case of conscious awareness overflowing cognitive access. Here we explored this requirement directly: can we perceive ensemble properties of scenes even without being aware of the relevant individual features? Across several experiments that combined aspects of iconic memory with measures of change blindness, we show that observers can accurately report the color diversity of unattended stimuli, even while their self-reported awareness of the individual elements is coarse or nonexistent — and even while they are completely blind to situations in which each individual element changes color mid-trial throughout the entire experiment. We conclude that awareness of statistical properties may occur in the absence of awareness of individual features, and that such results are fully consistent with sparse visual awareness. (shrink)

Panpsychism claims that the vast majority of conscious subjects in our world are inanimate and physical. Ensemble explanations account for striking phenomena by placing them within an ensemble of outcomes, most of which are not striking. This paper develops an explanatory problem for panpsychism: panpsychism renders two appealing ensemble explanations unsatisfactory. Specifically, we argue that panpsychism renders unsatisfactory the multiverse explanation of why a universe supports life and the many-planets explanation of why a planet supports life.

The coronavirus disease 2019 pandemic has affected most countries of the world. The detection of Covid-19 positive cases is an important step to fight the pandemic and save human lives. The polymerase chain reaction test is the most used method to detect Covid-19 positive cases. Various molecular methods and serological methods have also been explored to detect Covid-19 positive cases. Machine learning algorithms have been applied to various kinds of datasets to predict Covid-19 positive cases. The machine learning algorithms (...) were applied on a Covid-19 dataset based on commonly taken laboratory tests to predict Covid-19 positive cases. These types of datasets are easy to collect. The paper investigates the application of decision tree ensembles which are accurate and robust to the selection of parameters. As there is an imbalance between the number of positive cases and the number of negative cases, decision tree ensembles developed for imbalanced datasets are applied. F-measure, precision, recall, area under the precision-recall curve, and area under the receiver operating characteristic curve are used to compare different decision tree ensembles. Different performance measures suggest that decision tree ensembles developed for imbalanced datasets perform better. Results also suggest that including age as a variable can improve the performance of various ensembles of decision trees. (shrink)

In climate science, observational gridded climate datasets that are based on in situ measurements serve as evidence for scientific claims and they are used to both calibrate and evaluate models. However, datasets only represent selected aspects of the real world, so when they are used for a specific purpose they can be a source of uncertainty. Here, we present a framework for understanding this uncertainty of observational datasets which distinguishes three general sources of uncertainty: (1) uncertainty that arises during (...) the generation of the dataset; (2) uncertainty due to biased samples; and (3) uncertainty that arises due to the choice of abstract properties, such as resolution and metric. Based on this framework, we identify four different types of dataset ensembles — parametric, structural, resampling, and property ensembles—as tools to understand and assess uncertainties arising from the use of datasets for a specific purpose. We advocate for a more systematic generation of dataset ensembles by using these sorts of tools. Finally, we discuss the use of dataset ensembles in climate model evaluation. We argue that a more systematic understanding and assessment of dataset uncertainty is needed to allow for a more reliable uncertainty assessment in the context of model evaluation. The more systematic use of such a framework would be beneficial for both scientific reasoning and scientific policy advice based on climate datasets. (shrink)

Assuming minimal fine-individuation--that there are some necessarily equivalent intensional objects (e.g. propositions) that are nonetheless distinct objects, on standard actualist frameworks, the answer to our title question is "No". First I specify a fully cognitively accessible, purely qualitative maximal consistent state of affairs (MCS). (That there is an MCS that is either fully graspable or purely qualitative is in itself quite contrary to conventional dogma.) Then I identify another MCS, one necessarily equivalent to the first. It follows that there could (...) have been more than one obtaining MCS. I then argue that there is more than one obtaining MCS. So there is nothing answering to "the actual world", and the set of worlds is not the set of MCSs. I explore various patch-ups. Finally, I compare the actualist and modal realist notions of worlds, and I argue that even if the realist were right about concrete world ensembles, our reflections indicate that necessary truth is not truth in all worlds anyway, which undercuts the rationale for the realist's program. (shrink)

This paper examines the relationship between philosophy and its conditions. The affirmation “mathematics is ontology”, which I posited thirty years ago, has certain inconveniences. In this article, I present six varying possibilities for ontology. My own philosophical decision was to proclaim that being is a pure multiplicity, without the One and without any specific attribute such as “matter” or “spirit”. This movement of thought brought me to study the mathematical condition of philosophy and to search for a rigorous structuration of (...) my speculative decision within the field of mathematics. However, my initial postulate that “Being is the multiplicity without the One” is not a mathematical but a philosophical statement. This paper concludes with a presentation of the relationship between mathematics and philosophy in Being and Event, Logics of Worlds, and The Immanence of Truths. (shrink)

The Abrahamic traditions regard God as the world’s author. But what kind of author? A novelist? A playwright? Perhaps a composer of classical music? I will argue that it is best to regard God as like an improvisational play director or the leader of a jazz ensemble. Each determines the broad melodic contours or coarse-grained plot beforehand, while allowing their musicians or actors, and chance, to fill in the more fine-grained details. This analogy allows us to regard God (...) as the ultimate author of this world, while allowing us to be, while less than co-authors, more than mere enactors of a pre-written piece. These metaphors are particularly well-suited to illustrate and flesh out an Open Theistic view of things. (shrink)

Le mythe participe à la fois du vécu et du réel transcendés par le symbole, qui fait appel autant au visible qu’à l’immatériel. Exprimant une fiction selon certains, ou des vérités profondes pour d’autres, il traduit des croyances sur la cosmogenèse et l’anthropogenèse. Il a pour objet de dévoiler un mystère, et l’événement fondateur du cosmos et de l’humain.Le symbole, dans sa moitié signifiante, est toujours lié au concret, c’est-à-dire au matériel, au visible et au fini. Selon Paul Ricœur, un (...) symbole possède trois dimensions concrètes : cosmique, onirique et poétique. L’autre moitié du symbole exprime la part d’invisible et d’immatériel qui a sa logique propre. Mêlant la perception sensorielle à l’immatériel et au mystère, les mythes canaques précoloniaux traduisent aussi bien la réalité descriptive du monde visible, que la création de mondes imaginaires. Nous analyserons dans l’oralité canaque ces deux notions et leurs applications dans les domaines de la nature, de l’humain et du sociétal. Nous verrons comment s’articulent le visible et l’invisible dans le mythe canaque, quelle est la place respective du réel et de l’imaginaire impliqués dans chaque mythe, et leurs fonctions respectives. Sont-ils oppositionnels comme l’indique leur définition, ou bien forment-ils un ensemble de termes indissociables et complémentaires? Nous déterminerons in fine quelles sont l’interférence et la corrélation du réel et de l’imaginaire dans les fonctionnalités qui confèrent leur originalité aux mythes canaques. A myth is involved in both the living and real transcended by the symbol that appeals as much to the visible than the intangible. Expressing fiction for some, or deep truths for other, myth reflects beliefs about cosmogenesis and anthropogenesis. It aims to unveil a mystery, and the founding event of the cosmos and the human.The symbol, in its signifying half, is always linked to the concrete, i.e. the material, visible and finish. According to Paul Ricœur a concrete symbol has three dimensions: cosmic, oneiric and poetic. The other half of the symbol expresses the invisible hand and intangible that has its own logic. Combining sensory perception to the immaterial and mystery, precolonial Kanak myths reflect both the descriptive reality of the visible world, and the creation of imaginary worlds. We will analyze in Kanak orality these two concepts and their applications in the fields of nature, human and societal. We’ll see how articulate the visible and invisible in the Kanak myth, what is the respective role of the real and the imaginary involved in each myth, and their respective functions. Are they oppositional as indicated by their definition, or do they form a set of interrelated and complementary terms? We shall determine in fine which are the interference and the correlation of the reality and the imagination in the features which confer their originality on the Kanak myths. (shrink)

Mazisgives us a new reading of Merleau-Ponty’s overall writings, a monumental work of vast scope with an original thematic reading of Merleau-Ponty’s thought. Its overall structure is revealed by its subtitle: elucidating the depth of silence, taking it as normative for ethics, reformulating perception as imaginal, concluding with a poetics of philosophy. The book offers us a Merleau-Ponteanethics of “felt solidarity” and “lateral unity” through developing a sharp opposition between the ethics of Merleau-Ponty and Levinasregarding the “face” and the face-to-face, (...) and a new understanding of the inspiration Merleau-Ponty received from the novels of Antoine de Saint-Exupéry.By “face of the world,” Mazismeans to highlight the “physiognomic character” of perception, which means perceiving the overall form or shape of things that is suggestive and invites further attention. Merleau-Ponty’s French term, translated as “face,” is the word figure. In other words, to speak of the “face of the world” is new way of speaking of the “flesh of the world,”with a particularly poignant ethical edge about attentiveness and respect.Ultimately, what is at stake is the whole way of entering into and conducting the philosophical enterprise. Philosophy requires a qualitative language to articulate a qualitative world. This is poetic language and poetic phenomenology. This work commands our attention in a world that is increasingly “face blind” to the expressiveness of the world, not only of persons, but also of other living organisms, even the physiognomy of institutions and nature itself.Mazis nous offre une nouvelle lecture de l’oeuvre de Merleau-Ponty. Il s’agit d’un ouvrage monumental et ambitieux offrant une lecture originale de la pensée merleau-pontienne. La structure d’ensemble s’annonce dans le sous-titre : éclairer la profondeur du silence, l’assumer en tant que norme pour une éthique, reformuler la perception en tant qu’imaginale, conclure avec une poétique de la philosophie. Le livre esquisse ainsi une éthique merleau-pontienne de la « solidarité sentie » et de l’« unité latérale » en développant une opposition nette entre l’éthique de Merleau-Ponty et de Levinas, par rapport à la question du « visage » et du « face-à-face », ainsi qu’une nouvelle compréhension de l’inspiration que Merleau-Ponty a reçu des romans d’Antoine de Saint-Exupéry.Par « visage du monde », Mazis nomme le « caractère physionomique » de la perception, c’est-à-dire le fait de percevoir l’ensemble ou la forme des choses en tant qu’elle est allusive et nous invite à une attention ultérieure. Mazis traduit ainsi le terme figure. Parler d’un « visage du monde » est une manière nouvelle pour parler d’une « chair du monde », avec une insistance particulière sur l’attention et le respect. Enfin, ce qui est en jeu est un nouveau moyen d’entrer et de conduire l’entreprise philosophique. La philosophie demande un langage qualitatif afin de pouvoir articuler un monde qualitatif : un langage poétique et une phénoménologie poétique. Un tel travail demande notre attention par rapport à un monde qui est en train de devenir de plus en plus insensible vis-à-vis de l’expressivité du monde, non seulement des personnes, mais aussi des autres organismes vivants, de la physionomie des institutions et de la nature elle-même.Mazis offre una nuova lettura degli scritti di Merleau-Ponty nel loro complesso, in un lavoro monumentale e dall’orizzonte ampio che ripercorre il pensiero del filosofo secondo un taglio tematico originale. La struttura globale dell’opera si annuncia nel suo sottotitolo: essa esplora la profondità del silenzio, assume quest’ultimo come normativo in termini etici, riformula la percezione come immaginale, e si conclude con una poetica della filosofia. Il libro tratteggia un’etica merleau-pontiana della “solidarietà percepita” e dell’“unità laterale” che viene ricostruita attraverso una contrapposizione netta tra l’etica di Merleau-Ponty e quella di Lévinas in riferimento al “volto” e al “faccia a faccia con l’altro”; offre inoltre un’interpretazione nuova degli spunti ricavati da Merleau-Ponty dai romanzi di Antoine de Saint-Exupéry.Attraverso la formula “volto del mondo”, Mazis intende evidenziare il “carattere fisiognomico” della percezione, che significa percepire i contorni o la forma complessiva delle cose in quanto suggestiva e in grado di suscitare l’attenzione. Il termine francese di Merleau-Ponty tradotto come “volto” è figure. In altri termini, parlare di “volto del mondo” è un nuovo modo per riferirsi alla “carne del mondo”, con un richiamo etico particolarmente marcato al riguardo e al rispetto.In ultima analisi, ciò che è in gioco è un modo completamente nuovo di accedere e imprimere una direzione all’impresa della filosofia. Questa richiede un linguaggio qualitativo per articolare un mondo qualitativo. Ovvero un linguaggio poetico e una fenomenologia poetica. Questo volume si impone alla nostra attenzione in un mondo sempre più affetto da “cecità” nei confronti del volto e dunque sempre più insensibile all’espressività del mondo, non soltanto nei confronti delle persone, ma anche degli organismi viventi e persino della fisiognomica delle istituzioni e della natura stessa. (shrink)

It has been suggested that God can act on the world by operating within the limits set by Heisenberg's uncertainty principle (HUP) without violating the laws of nature. This requires nature to be intrinsically indeterministic. However, according to the statistical interpretation the quantum mechanical wavefunction represents the average behavior of an ensemble of similar systems and not that of a single system. The HUP thus refers to a relation between the spreads of possible values of position and momentum (...) and so is consistent with a fully deterministic world. This statistical interpretation of quantum mechanics is supported by reference to actual measurements, resolves the quantum paradoxes, and stimulates further research. If this interpretation is accepted, quantum mechanics is irrelevant to the question of God's action in the world. (shrink)

This book focuses on two central topics that could help us answer how Plato conceives of the physical world and its relationship to Forms. The first one is the Platonic concept of time. What is it, how is it defined, what is it not, and how does it help us describe the changing realities surrounding us? The second one is Plato’s understanding of the perceptible world. How is it related to Forms, and how exactly does it work? These (...) are central, wide-ranging, and highly contested questions garnering attention in recent Platonic scholarship. We have ensembled an international team that aims to offer bold, innovative, and thought-provoking answers to these questions. The nine contributions in this book represent a diverse range of starting points, methodologies, and interpretative traditions whose collective aim is to challenge your assumptions about Plato’s philosophy and help you rethink and revisit the Platonic corpus with fresh eyes. (shrink)

Instead he argues that there is an essence of comedy in the area of spirit rather than form, perspective rather than pattern. He draws upon the rich historical ensemble of types of comic figures, with a chapter devoted to each: the humorist, comedian, comic hero, rogue, trickster, clown, fool, underdog, and simpleton. He shows how each type incarnates a comic heroism in its own unique manner, offering a profound wisdom and philosophy of life.

Cet article est né d'une double constatation, la première inspirée par l'étude du corpus d'Héraclite d'Éphèse, auteur ionien du 6ème siècle av. J.-C. dont il nous reste largement plus d'une centaine de Fragments considérés comme littéraux et censément extraits d'une œuvre dont la forme et l'ordonnance sont à ce jour inconnues, la seconde par la lecture des commentaires et interprétations qu'en proposent les spécialistes. C'est en effet en remarquant la variété des approches appliquées par les scientifiques pour parvenir à une (...) compréhension générale du corpus d'une part et les divergences d'interprétation qui en découlent souvent d'autre part que j'en suis venue à m'interroger sur l'importance du choix de la méthodologie au sein d'une activité faisant la part belle à un délicat travail de rapiéçage. Puis, c'est en tentant moi-même de restituer un sens à certains Fragments individuels d'Héraclite et, d'une manière plus globale, de les considérer comme les lambeaux épars d'une même toile déchiquetée que j'ai compris la difficulté de développer un commentaire à partir d'extraits émiettés dont ni l'organisation, ni la forme initiales ne sont déterminées. La prose poétique d'Héraclite ajoutant à ces difficultés engendrées par l'histoire de la transmission des problèmes de définition des termes-clefs d'une part et d'identification des figures littéraires qui jalonnent le corpus d'autre part, j'ai tenté d'illustrer dans cet article quelques questions méthodologiques représentatives de son oeuvre, et ce en prenant ancrage dans les hypothèses de polysémie et de niveau de lecture auxquelles nous confronte la notion de „feu“, récurrente au sein des vestiges de l'œuvre de l'Éphésien. En partant de l'analyse de deux Fragments ignés, à savoir B30 et B66, cet article tend donc à présenter principalement quatre problèmes ou questions méthodologiques que je crois avoir décelés aussi bien au sein des études héraclitéennes que dans mes propres recherches: (1) les méthodes d'interprétation choisies pour aborder des séquences parfois sibyllines et, par conséquent, difficiles à traduire ainsi que les principes qui les motivent, (2) le traitement de la polysémie et de l'oscillation entre sens littéral et sens littéraire d'une notion-clef que l'œuvre ne définit jamais explicitement, (3) la fiabilité de sources anciennes quant à l'interprétation des Fragments, (4) la difficulté d'établir des définitions stables et les postulats d'équivalence entre des termes-clefs se substituant aux ambiguités du texte. C'est en montrant, sur le terrain des Fragments même, comment se posent à nous ces questions méthodologiques que j'aborde les thèmes de la polysémie et des niveaux de lecture du terme „feu“ dans le corpus d'Héraclite pour illustrer, par quelques exemples, comment des choix méthodologiques peuvent conditionner l'ensemble d'une interprétation, selon les options que le chercheur décidera d'adopter ou non. (shrink)

The main theme of the proposed paper concerns the professional training and artistic activity of Theodor Vasilescu, choreographer and dancer, specialized in folk dance, with a rich international activity during the communist regime. The analysis will focus on illustrating how the artist’s biography was influenced by a new trend in the satellite states of the U.R.S.S., namely that of transforming traditional dance into art with a political substratum. Also, the main thread of the article will consist in revealing the specific (...) type of relationship between the artist and the regime, dominated by a permanent awareness of the mutual benefits of this partnership: for the dancer Theodor Vasilescu it was the chance to develop a successful career, which for the propaganda apparatus implied a strong image campaign for Romania, abroad. Regarding the temporal framework, the analyzed period will focus on the regime of Nicolae Ceaușescu, 1965-1989, relevant in Theodor Vasilescu’s career path, as well as in the dissemination of his work results. There are three important aspects that will be analyzed in this article: first, the recovery of an important cultural trend in Romanian history, when, through the influence on the Soviet chain, folklore and traditional dance became an art form strongly subsumed to an ideology. This aspect led to the foundation of many Folk Ensembles with a specific type of artistic manifestations, including folk dance. At the same time, it will be illustrated how the regime was involved in financing and promoting this type of dance, by including it in the development of the most important national performances, by encouraging research in this field and creating professional opportunities through training and also by organizing an International Folklore Festival, “Romania 69”. This approach definitively changed the professional career of Theodor Vasilescu. The last aspect consists in presenting the international career of the choreographer, as a direct result of the increased interest that the communist regime had in promoting Romania’s image abroad. This made the Romanian folk dance very popular in countries such as Netherlands, Japan, Canada, Germany. Also, the frequent tournaments con-tributed to the increase of the Securitate’s interest in his daily activity. The main categories of sources for documentation will consist of: my personal archive which contains two interviews with Theodor Vasilescu, documents in the funds and collections of the National Archives of Romania (The Central Committee of the Romanian Communist Party, Propaganda and Agitation Section, Organizational Section), also those of the National Council for Studying the Securitate Archives. (shrink)

Adi Da argues that no solutions currently proposed are sufficient to righten the present unsustainable trajectory of life on Earth, because there is no integrated approach to the ordering of society and use of the planet. The presumption of separateness—manifesting collectively as separate “tribes” vying for control—characterizes human affairs, rather than the prior (“a priori”) unity of existence. The struggle for dominance is the “stave in the wheels” of the Earth-system's inherent capacity to self-correct. A new institution, “the Global Cooperative (...) Forum,” is proposed—invoked by “everybody-all-at-once” (a global populace awakened as a single force, capable of cooperatively effecting global change). (shrink)

orbit and far beyond it. Indeed, the immense, painstaking, indefatigable and ever-improving effort of Husserl to find ever-deeper and more reliable foundations for the philosophical enterprise (as well as his constant critical re-thinking and perfecting of the approach and so called "method" in order to perform this task and thus cover in this source-excavation an ever more far-reaching groundwork) stands out and maintains itself as an inepuisable reservoir for philosophical reflec tion in which all the above-mentioned work has either its (...) core or its source. In fact, in his undertaking to re-think the entire philosophical enterprise as such and to recreate philosophy upon what he sought to be at least a satisfactorily legitimated basis, Husserl, through his already systematised and "authorized" work, and his courses, and later on in his spontaneous reflection (which did not find its way into a definitive corpus but was nevertheless sufficiently coherent with his previously established body of thought to be considered a continuation of it), uncovers perspectives upon the universe of man and projects their new philosophical thematisation that brings together all the attempts by philosophers (e. g., Merleau-Ponty, who drew upon this material and found there his own inspiration) who succeeded him with foundational intentions; it also gives a core of philosophical ideas and insights for the youngergenerationofphilosophers today. (shrink)

Wild Ideas is a collection of essays that brings a fresh and refreshing perspective to the wilderness paradoxically at the center of our civilization.

This collection is the final volume of a four book survey of the state of phenomenology fifty years after the death of Edmund Husserl. Its publication represents a landmark in the comprehensive treatment of contemporary phenomenology in all its vastness and richness. The diversity of the issues raised here is dazzling, but the main themes of Husserl's thought are all either explicitly treated, or else they underlie the ingenious approaches found here. Time, historicity, intentionality, eidos, meaning, possibility/reality, and teleology are (...) the main concerns of this collection devoted to studies in aesthetics, metaphysics and literary interpretation, written by such authors as, among others, R. Cobb-Stevens, C. Moreno Marquez, J. Swiecimski, Sitansu Ray and M. Kronegger. These original studies of phenomenological aesthetics and literary theory by scholars from all parts of the world were gathered by the World Institute for Advanced Phenomenological Research and Learn ing during the year 1988/89 during its assessment of the phenomeno logical movement, fifty years after Husserl's death. IX A -T. Tymieniecka (ed.), Analecta Husserliana, Vol. XXXVII, ix. (shrink)

Uncoupling proteins (UCPs) regulate mitochondrial function, and thus cellular metabolism. Angiotensin‐converting enzyme (ACE) is the central component of endocrine and local tissue renin–angiotensin systems (RAS), which also regulate diverse aspects of whole‐body metabolism and mitochondrial function (partly through altering mitochondrial UCP expression). We show that ACE expression also appears to be regulated by mitochondrial UCPs. In genetic analysis of two unrelated populations (healthy young UK men and Scandinavian diabetic patients) serum ACE (sACE) activity was significantly higher amongst UCP3‐55C (rather than (...) T) and UCP2 I (rather than D) allele carriers. RNA interference against UCP2 in human umbilical vein endothelial cells reduced UCP2 mRNA sixfold (P < 0·01) whilst increasing ACE expression within a physiological range (<1·8‐fold at 48 h; P < 0·01). Our findings suggest novel hypotheses. Firstly, cellular feedback regulation may occur between UCPs and ACE. Secondly, cellular UCP regulation of sACE suggests a novel means of crosstalk between (and mutual regulation of) cellular and endocrine metabolism. This might partly explain the reduced risk of developing diabetes and metabolic syndrome with RAS antagonists and offer insight into the origins of cardiovascular disease in which UCPs and ACE both play a role. (shrink)

Studies in astrophysical cosmology have served to reveal the incomprehensible fine-tuning of the fundamental constants and cosmological quantities which must obtain if a universe like ours is to be life-permitting. Traditionally, such fine-tuning of the universe for life would have been taken as evidence of divine design. William Dembski’s ’generic chance elimination argument’ provides a framework for evaluating the hypothesis of design with respect to the fine-tuning of the universe. On Dembski’s model the key to a design inference is the (...) elimination of the competing alternatives of physical necessity and chance. In debates over fine-tuning, the former is represented by a ’theory of everything’, which would eliminate or significantly reduce the improbabilities of fine-tuning. The latter takes the shape of the ’many worlds hypothesis’, according to which a ’world ensemble’ of universes exist, thus providing purchase for the ’anthropic principle’. This paper assesses the relative merit. (shrink)

Barrow and Tipler’s contention that the Anthropic Principle is obviously true and removes the need for an explanation of fine-tuning fails because the Principle is trivially true, and only within the context of a World Ensemble, whose existence is not obvious, does a selection effect become significant. Their objections to divine design as an explanation of fine-tuning are seen to be misconceived.

A version of the Fine-tuning Argument (FTA) considered in a previous essay is replaced by an improved version, which is then refuted.Advocates of FTA must proclaim that there is no world ensemble, that a great many alternatives to the physical constants of our universe are physically possible and roughly equal in probability to them, and that alternate hypothetical worlds are all, or almost all, uninteresting in comparison to our universe. But no reason has been produced to believe any (...) of these claims, and so FTA, even in its improved version, can still be dismissed as unsupported, doubtful, and weak. (shrink)

We attempt to describe geometry in terms of informational quantities for the universe considered as a finite ensemble of correlated quantum particles. As the main dynamical principle, we use the conservation of the sum of all kinds of entropies: thermodynamic, quantum and informational. The fundamental constant of speed is interpreted as the information velocity for the world ensemble and also connected with the gravitational potential of the universe on a particle. The two postulates, which are enough to (...) derive the whole theory of Special Relativity, are re-formulated as the principles of information entropy universality and finiteness of information density. (shrink)

There seems to be a widespread conviction — evidenced, for example, in the work of Mackie, Dawkins and Sober — that it is Darwinian rather than Humean considerations which deal the fatal logical blow to arguments for intelligent design. I argue that this conviction cannot be well-founded. If there are current logically decisive objections to design arguments, they must be Humean — for Darwinian considerations count not at all against design arguments based upon apparent cosmological fine-tuning. I argue, further, that (...) there are good Humean reasons for atheists and agnostics to resist the suggestion that apparent design — apparent biological design and/or apparent cosmological fine-tuning — establishes (or even strongly supports) the hypothesis of intelligent design. (shrink)

What is the difference between a researcher in philosophy and a philosopher? There are two kinds of answer that we can give to this question. We can say that the difference lies in a sort of internal quality; or, as the authors of this paper do, we can argue that a philosopher would not be a philosopher without the intervention of an ensemble of social actors such as universities, departments, funding, colleagues, editors, journals, media, and so on. In the (...) first section, referring to actor-network theory (ANT), the authors define the philosopher as a Leviathan, i.e. a macro-actor that became macro- not thanks to his/her essence, but because he/she succeeded in translating the interests of other actors. In the second section, it is introduced the notion of digital traces, and the homology between ANT and the image of the social reality we can obtain from a process of extraction, treatment, and (visual) restitution of digital traces. In particular, the authors stress the potential of a digital traces-based scientometric for studying actor-networks related to the academic world, but also its limit. In the third section, the specific case of the actor-networks related to philosopher Paul Ricoeur is considered. First, on the basis of a scientometric analysis of the digital traces contained in the bibliographic database Scopus, and secondly by extending the exploration to digital traces available on the Web via web mapping. In the conclusion, the authors affirm that the merit of their digital hermeneutics consists in bringing forward a «world of the text» which is probably less romantic, but certainly more authentic that the «world of the text» to which Ricoeur has often referred to. (shrink)

Bolesław Leśmian’s The Mad Violinist contains many suggestions concerning the musical side of the drama, especially its properties of sound and expression. The violin and violin playing fulfill an important function – coloristic, dramaturgic and symbolic – in the work. Also appearing are the sounds of other instruments (gong, dulcimer, plucked string instrument), refined musical timbres and acoustic effects (sound portrait of the Woodland Water Nymph), musical profiling of the characters (Alaryel plays the violin, Chryza dances on stilts, the Witch (...) strikes the clock) and ‘ballet’ scenes – solo and ensemble (Chryza’s dance, Chryza and the Water Nymph’s dramatic duet, the dance suite in the Second Delusion). The poet also described very suggestively the expressive categories of the fragments set to music. Their skillful distribution in time and combination on a contrast principle, as well as the utilization of their dramatic potential, contribute to the reinforcement of their power of expression. Alaryel’s virtuoso showpiece, maintained in a furioso-type tone, leads to a true explosion of sound and contrasts with the lyrical and wistful lamentoso played over the grave of the Water Nymph. However, the ethereal timbre of the Water Nymph, who is accompanied by an indigo dawn, emphasizes the symbolic significance of this character. The musical components in The Mad Violinist blend perfectly with the other elements – word, gesture, stage movement and the visual side of the drama, creating an extraordinary whole of great artistic value. The present article also proposes a reference to the violin music of Belgian violinist and composer Eugène Ysaÿe, whose oeuvre fits into the European Symbolist trend. His Six Sonatas for Violin Solo op. 27 from 1927 form a peculiar interpretative context for Leśmian’s drama. The point here is not to suggest any actual relationship, but rather to draw attention to the similar type of artistic sensitivity and imagination, feel for color and deeply sensual manner of experiencing the world. (shrink)

Les pronoms personnels peuvent faire référence à la représentation physique (comme une statue ou une photographie) d’une personne plutôt qu’à cette personne elle-même. L’article présente une explication de ce liage sans identité apparente. Une objection est adressée à la théorie des proxies de Reuland et Winter, fondée sur la distinction entre attitudes de re et attitudes de se. La stratégie proposée ici consiste à introduire une nouvelle modalité pour chaque nouveau support d’une représentation physique, ce qui permet d’éviter les proxies (...) et de restaurer l’identité à la base de la résolution des anaphores. Les modalités correspondent à des fenêtres modales au travers desquelles le sujet peut appréhender des objets, existants ou non, y compris lui-même. La sémantique proposée suppose de réinterpréter certains prédicats. Elle emprunte à Wehmeier l’idée de relation inter-mondaine, qui soulève en tant que telle des questions métaphysiques. L’article aborde ces questions, pour proposer finalement d’étendre la théorie des fenêtres modales à l’ensemble des relations intentionnelles. (shrink)