I first argue that forms of regulated parenting are presumptively justified whereas private parenting is not. Then, I argue that the reasons we have to believe that regulated parenting is justified give us reasons to believe that individuals who are objectionably intolerant—that is, they subscribe to prejudicial dogmas such as racism, sexism, and homophobia to such an extent that their ability to direct caring attitudes toward, for example, Black people, women, and/or gay people is significantly impaired—ought not to rear children. (...) Finally, I argue that if these people ought not to rear children, we have special reason to institute a scheme of parental licensing to ensure they do not. (shrink)

The dominant framework for addressing procreative ethics has revolved around the notion of harm, largely due to Derek Parfit’s famous non-identity problem. Focusing exclusively on the question of harm treats what procreators owe their offspring as akin to what they would owe strangers (if they owe them anything at all). Procreators, however, usually expect (and are expected) to parent the persons they create, so we cannot understand what procreators owe their offspring without also appealing to their role as prospective parents. (...) I argue that prospective parents can wrong their future children just by failing to act well in their role as parents, whether or not their offspring are ultimately harmed or benefitted by their creation. Their obligations as prospective parents bear on the motivations behind their reproductive choices, including the choice to select for some genetic trait in their offspring. Even when procreators’ motivations aren’t malicious, or purely selfish, they can still fail to recognize and act for the end of the parental role. Procreators can wrong their offspring by selecting for some genetic trait, then, when doing so would violate their obligations as prospective parents, or when their motivation for doing so is antithetical to the end of the parental role. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Introduction:Remarks in Memory of David W. ChappellDonald K. SwearerOn December 8, 1996, David Chappell delivered the Bodhi Day lecture, titled "Bodhisattva in the Twenty-first Century," at the Hompa Hongwanji Temple in central Oahu. The lecture wasn't autobiographical—David was much too unassuming to have thought of himself in these terms—but those of us who loved David and who had the privilege of working with him over many years have no (...) such qualms. David's dedication, sincerity of spirit, generosity, and compassion were truly bodhisattva-like.In his lecture David contrasts the superficial, electronic Internet connectedness of our lives today with the common ground discovered at Awakening based on what David called "heart connection," an insight into the shared nature of all sentient beings that leads to empathy, compassion, and kindness. In contrast to enlightened heart connectedness, Internet interaction lacks the capacity of an intimacy with the varied phenomena of life at each moment. "The Internet," he observes, "allows us to ease our solitude by getting access to things that are compatible with our own interests. However, Buddhism considers that the achievement of enlightenment involves being able to be compatible and have empathy with things that may seem foreign or offensive or a threat to us by seeing them as connected and similar to ourselves. This involves not just new information, or a new perspective on things, but a new understanding of ourselves and our relationship to others at a level that touches what is beyond manipulation or even rational expression."I've quoted rather extensively from David's 1996 Bodhi Day talk because it reveals several dimensions of his bodhisattva-like nature: his sense of connectedness with those around him and a heart-to-heart intimacy with a wide network of friends, acquaintances, and even those at a greater personal distance. David's simpatico nature was manifested in many ways—from his body language to his dedication to peacemaking.On a visit to the United States during the Vietnam War, Thich Nhat Hanh was speaking to a large audience gathered in the auditorium of a large Midwestern church. Following the talk a middle-aged man jumped to his feet, shook his clenched [End Page 3] fist in anger, and shouted in a loud voice, "Well, Mr. Hanh, if you're so concerned about your fellow Vietnamese dying in the rice paddies, why are you here?! Why aren't you there with them?!" Thây stood silently for what seemed like minutes and then replied in calm, quiet tones, "I'm here because some of the roots of the war are here in the United States. When one waters a plant, it's insufficient to water the leaves. One has to water the roots." He then turned and walked slowly through the side door of the auditorium. Jim Forest, Thây's Catholic Peace Fellowship friend who was in the audience, sensed something was wrong and quickly followed him outside. There he found his friend bent over, hands on his knees, trying to catch his breath. Slowly Thây stood erect and, breathing normally, explained that in order not to respond in anger but with understanding and compassion he had entered into deep breathing; however, the state he had achieved had been too deep and left him short of breath. Jim Forest later observed in a memoir that for the first time in his life he realized the profound connection between breathing and one's actions.David's inner nature was expressed in an act as simple as breathing: his trademark bodhisattva-like smile. At the 1980 Oahu conference that launched the Society for Buddhist-Christian Studies, convened by David and his colleague Bob Bobilin, there were more than just one or two frustrating logistical snafus. Whatever the crisis, however, David never lost his cool. He would smile and in his typically unhurried manner offer a helping hand or a word of calm advice, seemingly in the belief that good karma, compassionate Buddha nature, or God's grace would help rectify the situation.David stories abound—humorous, poignant, moving. Those who worked with him as colleagues in religious studies, the Society for Buddhist-Christian Studies... (shrink)

Negative emotions like anger, spite, contempt, and envy are widely seen as obstacles to a good life. They are like the weeds in a garden that need to be pulled up before they choke out the nice plants. This book argues that bad feelings aren't the weeds; they are the worms. Many people are squeamish about them and would prefer to pretend they aren't there, but the presence of worms mean the garden it thriving. I draw on insights from the (...) history of philosophy to show what we've gotten wrong about bad feelings and to see how we can live better with them. The first half of the book argues that there is nothing wrong with negative emotions and that their bad reputation is undeserved. Philosophers have long argued that our emotions are part of how we value things and bad feelings are not different. Negative emotions are expressions of self-love-not egoism or selfishness, but the felt attachment to ourselves and our lives. We feel negative emotions because our lives matter to us. The second half of the book takes a detailed look at individual bad feelings: anger, envy and jealousy, spite and Schadenfreude, and contempt. I show how all our negative emotions are valuable parts of our attachment to our lives. We don't have to battle negative emotions or "channel" them into something productive. Bad feelings aren't obstacles to a good life; they are part of what makes life meaningful. (shrink)

The current study investigated whether there are significant relationships between life satisfaction and meaning in life, hope and COVID-19 fear and the extent to which life satisfaction is predicted by these variables. The study group of this research consists of 1,186 adults with the mean age of 41.04. Study group participants are consists of different cities of different regions of Turkey. As the data collection tools, the life satisfaction scale, the meaning in life scale, the dispositional hope scale and the (...) COVID-19 fear scale were used. The results of the analyses have revealed that meaning in life, hope are significant predictors of life satisfaction as positively. Besides, it is seen COVID-19 fear, age, gender and the presence of people infected with COVID-19 around aren’t significant predictors of life satisfaction in adults. (shrink)

Qur’an courses have been opened for 4-6 years old by Presidency of Religious Affairs, showed academic success and ensure children realize the values of Islamic religion meaning to human life, recognize sound and form of Qur’an, develop healthy religion and morality. Applied courses prepared by academicians, pre-school teachers and experts. Graduates educated from Faculty of Theology, İlitam, Associate of Theology degree and Imam-Hatip High School, public education, distance education centres of universities, and instructor work in these courses who receive certificates (...) from programs which is organized by Presidency. Because there aren’t undergraduate or graduate levels educational institutions for training people who give religious education in early childhood in Turkey. The aim of study reveal competencies 4-6 years old of instructors works in courses based on experiences of teachers with students and their parents. In the study, it is used qualitative methodology, interview and document analysis. 18 instructors were interviewed and content analysis was used for data obtained. Similar data was combined and interpreted within framework of certain concepts and themes. It was determined that instructors have considered themselves insufficient in pedagogical formation. According to the findings, trainings are theoretically and long intervals in-service. During training process, the necessity of parent education and positive developments in families demonstrated which determined that parents had requests for their children to be prepared for school. In addition, it was determined that students showed academic success who graduated from course and started primary school. However, the achievement was determined individual efforts of instructors, and there wasn’t content preparing children for school course of 4-6 years. (shrink)

One most common problem in reinforcement learning systems (e.g. Q-learning) is to reduce the number of trials to converge to an optimal policy. As one of the solution to the problem, k-certainty exploration method was proposed. Miyazaki reported that this method could determine an optimal policy faster than Q-learning in Markov decision processes (MDPs). This method is very efficient learning method. But, we propose an improvement plan that makes this method more efficient. In k-certainty exploration method, in case there is (...) no k-uncertainty rule (rules which aren’t selected more than k times) in current state, an agent sometimes walks randomly until it finds a state where it can select a k-uncertainty rule. We think that this behavior is not efficient. To reduce this useless behavior, we propose combining k-certainty exploration method with Dynamic programming (DP). Miyazaki’s system uses DP after all rules are executed at least k times. But, our method uses k-certainty exploration method along with DP during learning. Our method, takes two pattern actions. In case an agent can select k-uncertainty rules, one of these rules is selected at random as k-certainty exploration method. In another case there is no k-uncertainty rule, behavior of agent is different from the behavior of k-certainty exploration method. In that case, our method uses DP to compute an optimal policy for moving from a current state to a state in which some k-uncertainty rules remain. The model for DP is constructed by using only known states. The outline will be described below. First, an agent makes a map constructed by using only known states. In the map, goals are states in which there are k-uncertainty rules and arbitrary state values are set in these states. Point to which attention should be paid is that the map is not given from outside. It is made from only experience. Next, each state values of states in which there are only k-certainty rules in the map are computed by DP (we used Policy Iteration). Finally, an agent continues to select greedy action until it arrives at a state in which it can select a k-uncertainty rule. By this improvement, we expect it can determine an optimal policy faster than k-certainty exploration method. And we have verified that our exploration method can determine an optimal policy faster than k-certainty exploration method by computer simulation. (shrink)

I defend the intention-dependence of artifacts, which says that something is an artifact of kind K only if it is the successful product of an intention to make an artifact of kind K. I consider objections from two directions. First, that artifacts are often mind- and intention-dependent, but that this isn’t necessary, as shown by swamp cases. I offer various error theories for why someone would have artifact intuitions in such cases. Second, that while artifacts are necessarily mind-dependent, they aren’t (...) necessarily intention-dependent. I consider and reject three kinds of cases which purport to show this: accidental creation, automated production, and mass production. I argue that intentions are present in all of these cases, but not where we would normally expect. (shrink)

Awareness that moral beliefs and practices have changed across time threatens our confidence in our current moral beliefs: if past moral beliefs turned out to be wrong, how can we be sure ours aren't likewise mistaken? In this paper, I set up four desiderata for a successful theory of moral progress: it must allow us to judge that progress has occurred, avoid the image of increasing correspondence towards ahistorical truthmakers, allow for revision in belief, and yet not be disobligating. Rorty's (...) pragmatist account of moral progress delivers on the first three, but at the cost of failing to meet the fourth: it drains moral beliefs of their categorical force. I then outline K.E. Løgstrup’s understanding of the relation between the ‘ethical demand’ and changing, socially mediated norms. While Løgstrup does posit an unchanging ground of normativity - the "ethical demand" to act for the sake of the other whose welfare is in our hands – he also thinks that changing social norms are an indispensable part of ethical life. I argue that Løgstrup's discussion of the ‘refraction’ of the ethical demand through changing social norms provides resources for an account of moral progress that fulfils these four desiderata. (shrink)

Kyrgyz people lived under the control of Soviet Union for about 70 years. During this time, they were forbidden to practice any kinds of religious duties. Their religious schools and mosques were closed or used for other aims rather than religious needs. In short, all kinds of religious freedom and practices were forbidden strictly. The aim was to bring up an atheistic people during the days of Soviet Union. However, when Kyrgyz people won their independence and established a new country, (...) all kinds of restrictions in terms of religion were abrogated and people began to establish their religious schools and mosques. While during the first years of independency of the country in 1991, there were only 39 mosques, as of 2018 there are nearly 3,000 mosques in the country. In addition to the increase of mosques, the number of people going to mosques also increases day by day. This article examines mainly the development of religious freedom in terms of legal aspect from the beginning of the establishment of the country to our time; the legal statues, functions, and duties of State Commission for Religious Affairs and Religious Office of Kyrgyzstan Muslims, and as common religious educational places mosques, religious activities done at mosques, the factors effecting these activities negatively.Summary: Kyrgyz Turks are one of the most ancient tribes in Central Asia. Although there are various views and knowledge about the religious life and the process of Islamization of them in various sources, there is no doubt that one of the most important elements which shapes Kyrgyz culture and social life is Islam. Even though they continued the activities of Islamic education and training under the rule of many nations thorough the history, all activities of religious education were tried to be forgotten and religion was removed from daily life under the Soviet communist regime. However, with the establishment of the Republic of Kyrgyz based on the secular and democratic bases on 31 August 1991, Muslim people showed a great effort and endeavor to open some institutions where they could live their religion, perform their religious duties, and teach religious and moral values for people. After the declaration of independence, with the enacting of “Freedom of Faith and Religious Institutions” on 16 December 1991 which was one of the first enacting laws, very important developments happened in terms of both formal and informal education. Some knowledge concerning Islam is given in some culture courses and “Religious Office of Kyrgyzstan Muslims” was created for meeting all kinds of religious needs of Muslims in the country in 1993. With the establishment of the “State Commission for Religious Affairs” in 1996, some new legal regulations were made. Thus the state’s policy about religious education and teaching gained a new dimension. During this process, the state faced some problems concerning developments in religious education. Although some of these problems have been solved legally, there are still many problems about religious education today. Since the independency until now, there have been many researches as articles, books, master theses and doctorate dissertations about various fields of religious education, religion-state relations, religious institutions, course books and their curriculums. However, a great majority of these studies belong to religion-state relations and the field of formal religious education. There aren’t any academic studies or research about mosques and imams that concern the great majority of the country population. In fact, from the point of religious education, common or informal religious education is as extremely important as formal religious education. For the mosques that are one of the most important institutions of common religious education are spread to the most remote corner of the country and serve for all people of different ages for the whole year. The effects of common religious education increase day by day. While there were just 33 mosques in 1933, there were 39 mosques in the independency year of 1991, as of 2018 this number has risen to 2830. Relating the imams who work at mosques, it is not possible to speak about a systematic structure. Since imams are generally graduated from madrasas, their educational levels are very low. As they have not enough financial support and highly educated teachers, they cannot give good education to their students and cannot adopt themselves to the modern educational levels in teaching religious issues. In order to solve this problem, Muftiyat either sends students to abroad or gives in service trainings for imams. Another important problem in relation to imams is the way of assignment. There is no criterion for assignment of imams. They are not designated by the Muftiyat, but it just legitimizes those imams who are chosen by congregation. Imams receive neither any salary from the Muftiyat, nor they have any social assurance. They work either voluntary or their incomes are paid by people. Although all of these negative conditions, mosques and imams have a great importance on Kyrgyz people’s education, culture, worship, and moral teaching. It can be said that there are two kinds of education at mosques and masjids. One of these is “moldos”, some men of religion who gather students and give some religious knowledge without following any curriculum. Although some of them take education from some Arabic countries or Pakistan, their educational level is very low and cannot recite even the Qur’an correctly. In addition, they have very little knowledge about pedagogy and religious themes, and they have not enough educational experience. The second type of education at mosques and masjids is carried out through Friday sermons and preaching. However, this is not an effective way in giving religious education. Because the way in which the Friday sermon is given is not appropriate as a good teaching method. As the sermons are done in Arabic, there is no effective communication between the imam and the congregation. However, Friday sermons and preaching are very important for people’s religious education and socialization. This article firstly deals with the developments in religion in the times of freedom of the country, secondly, it examines the institution of Muftiyat to which all mosques are adhered and “State Commission for Religious Affairs” that register the mosques which the Muftiyat approves, and lastly gives information about mosques and their congregations in the country. (shrink)

It is shown that a Clifford algebra formalism provides a unifying description of spin-0, -1/2, and-1 fields. Since the operators and operands are both expressed in terms of the same Clifford algebra, the formalism obtains some results which are considerably different from those of the standard formalisms for these fields. In particular, the conservation laws are obtained uniquely and unambiguously from the equations of motion in this formalism and do not suffer from the ambiguities and inconsistencies of the standard methods.

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly the members (...) of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly the members (...) of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (shrink)

In the Severan period the proconsulship of Africa or Asia was normally held some 15 to 17 years after die consulship. Although there are comparatively few consuls in this period whose ages can be firmly established, what evidencethere is suggests that the consulship was normally held in the early forties, on occasions as early as the mid thirties: a consularis could, therefore, hope to attain a premier proconsulship aged about 60. Thus the future emperor P.Helvius Pertinax, who was born on (...) 1st August 126, held the proconsulship of Africa, probably in 188/9, at the age of 62. M. Didius Julianus, the imperial successor to Pertinax, also succeeded him in Africa aged about 56. C. Vettius Sabinianus was born before 136 and his proconsulship fell about 192/37 whenhe was at least 56 years old. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward Mindful Music Education:A Response To Bennett ReimerSandra L. StaufferIn her book Composing a Life, Mary Catherine Bateson reminds us to acknowledge our antecedents—those who have gone before in whatever way or whatever path.1 I believe we should also acknowledge our co-conspirators—those who have listened to us and wrestled with our ideas. Following Bateson, I wish to recognize the contributions of my teachers and my colleagues, particularly the members (...) of the doctoral seminar at Arizona State University. I am grateful for your contributions to the life of my mind and the words of this morning. For the record, I also want to say that Bennett Reimer is both antecedent and co-conspirator for everyone in this room, and we are indebted to him."The first task of philosophy involves learning to ask a good question," says Walter Feinberg in his essay on the philosophical scholar.2 Reimer asks us, "Who is philosophy of music education for?"—a provocative question indeed. He also gives us an answer: K-12 students.I agree, but not really. How can that be? Imagine this. A music teacher I know, Stephanie, was engaged with some first-grade children in singing songs and moving and reading rhythms. She turned to write on the white board. When she turned back to the children, one boy, Alex, was standing, perfectly still, on his head. What happened next? I will tell you in few minutes. Reimer says, "Philosophical issues are not disconnected to or incidental to musical experience. [End Page 135] They are foundational for musical experience, because one's values, beliefs, desires, preferences, and so forth, directly affect how one engages with music and what one gets from doing it." Abridging those two sentences at my own peril, Reimer appears to be saying that philosophical issues are foundational to musical experience.That idea works for me only if I am standing, figuratively and metaphorically, not literally, on my head. It seems to me that experience is the foundation of philosophy or, put another way, that one's philosophy derives from one's experiences; the richer the experiences, the richer the philosophy. A philosophy based on limited or weak experience is a limited or weak philosophy. This, however, is only surface-level logic for a deeper epistemological question—where does one's philosophy come from? If I take the Deweyan perspective that philosophy derives from experience, then surely I am obligated, in this forum, to define my terms—particularly "experience." It would be easy to say that experience means making music and listening to music, and surely it does. By experience, however, I mean not only these actions—the doing of music—but also thinking, or what Ellen Langer calls mindfulness.3 Langer describes mindful learning as having three characteristics: "the continuous creation of new categories; openness to new information; and an implicit awareness of more than one perspective."4 I like how Robert Duke articulates the same idea: "Teach things that are intellectually interesting and functionally valuable."5 Engage students not just in doing, but also in thinking—in mindful learning. Rich experience makes for rich philosophy. If we are talking about music education at all levels that is not only participatory, but also mindful, then I am all for it.Reimer asks a second question: how are we to accomplish the teaching of philosophy to K-12 students? I want to know what we are trying to accomplish. Are we trying to teach the content of philosophy or are we trying to help students develop their own abilities to think about their experiences as musicians, whether as listeners or as music makers, in whatever contexts they find themselves? The former seems to be a reification of philosophy in which I am not eager to engage most K-12 students. I hope we are aiming for the latter. If so, then our task is to provide rich and mindful experiences in every music setting. Our task is to model the disposition of a philosopher—one who asks questions, is curious, and is engaged in the life of the mind.This seems so obvious. Why aren't we doing it already? There... (shrink)

Putative counterexamples to the Principle of Identity of Indiscernibles (PII) are notoriously inconclusive. I establish ground rules for debate in this area, offer a new response to such counterexamples for friends of the PII, but then argue that no response is entirely satisfactory. Finally, I undermine some positive arguments for PII.

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

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"Principe à valeur constitutionnelle en droit français, la sécurité juridique occupe une place centrale dans l'argumentaire du législateur aussi bien national qu'européen et se trouve au coeur de l'activité juridictionnelle. Dans une perspective économique du droit, les systèmes juridiques sont désormais eux-mêmes évalués à l'aune de la sécurité juridique, comme le démontrent les rapports "Doing Business", commandés par la Banque Mondiale depuis une dizaine d'années. Cependant, la crainte d'insécurité juridique semble ne jamais avoir été aussi forte. Elle est notamment révélée (...) par l'appel récurrent à la notion de sécurité juridique. La mondialisation et la "fondamentalisation" du droit amplifient le phénomène dans la mesure où l'exigence de sécurité se manifeste dans des contextes plus complexes de formation et d'application du droit. En parallèle, la notion d'insécurité juridique est évoquée en creux lors des travaux relatifs à la sécurité juridique. Or, cette dernière est le plus souvent envisagée à partir de la dénonciation de son contraire, l'insécurité juridique. Par conséquent, la sécurité juridique est envisagée de manière négative. Pourtant, l'insécurité juridique ne fait l'objet d'aucun travail conceptuel malgré son emploi généralisé. Sous l'égide de la Cour de cassation et de la Société de législation comparée, des juristes de plusieurs horizons se sont réunis à Paris le 22 mars 2021 pour mener une double analyse de cette notion dans un colloque intitulé "Insécurité juridique : l'émergence d'une notion? " Ils ont d'abord apprécié le recours à la notion d'insécurité juridique pour se livrer ensuite à un exercice prospectif, notamment au regard des nouveaux enjeux technologiques.". (shrink)

Papers presented at the International Seminar on Film & Philosophy, held at Kozhikode during 26-30 September 2000.

I examine whether or not it is apt to attribute knowledge to groups of scientists. I argue that though research teams can be aptly described as having knowledge, communities of scientists identified with research fields, and the scientific community as a whole are not capable of knowing. Scientists involved in research teams are dependent on each other, and are organized in a manner to advance a goal. Such teams also adopt views that may not be identical to the views of (...) the individual members of the group. (shrink)

Noise in behavior is often viewed as a nuisance: while the mind aims to take the best possible action, it is let down by unreliability in the sensory and response systems. How researchers study cognition reflects this viewpoint – averaging over trials and participants to discover the deterministic relationships between experimental manipulations and their behavioral consequences, with noise represented as additive, often Gaussian, and independent. Yet a careful look at behavioral noise reveals rich structure that defies easy explanation. First, both (...) perceptual and preferential judgments show that sensory and response noise may potentially only play minor roles, with most noise arising in the cognitive computations. Second, the functional form of the noise is both non-Gaussian and non-independent, with the distribution of noise being better characterized as heavy-tailed and as having substantial long-range autocorrelations. It is possible that this structure results from brains that are, for some reason, bedeviled by a fundamental design flaw, albeit one with intriguingly distinctive characteristics. Alternatively, noise might not be a bug but a feature: indeed, we suggest that noise is fundamental to how cognition works. Specifically, we propose that the brain approximates probabilistic inference with a local sampling algorithm, one that uses randomness to drive its exploration of alternative hypotheses. Reframing cognition in this way explains the rich structure of noise and leads to a surprising conclusion: that noise is not a symptom of cognitive malfunction but plays a central role in underpinning human intelligence. (shrink)

My aim is to evaluate a new realist strategy for addressing the pessimistic induction, Ludwig Fahrbach’s (Synthese 180:139–155, 2011) appeal to the exponential growth of science. Fahrbach aims to show that, given the exponential growth of science, the history of science supports realism. I argue that Fahrbach is mistaken. I aim to show that earlier generations of scientists could construct a similar argument, but one that aims to show that the theories that they accepted are likely true. The problem with (...) this is that from our perspective on the history of science we know their argument is flawed. Consequently, we should not be impressed or persuaded by Fahrbach’s argument. Fahrbach has failed to identify a difference that matters between today’s theories and past theories. But realists need to find such a difference if they are to undermine the pessimistic induction. (shrink)