Rationale: Deep brain stimulation (DBS) of the hippocampus is proposed for enhancement of memory impaired by injury or disease. Many pre-clinical DBS paradigms can be addressed in epilepsy patients undergoing intracranial monitoring for seizure localization, since they already have electrodes implanted in brain areas of interest. Even though epilepsy is usually not a memory disorder targeted by DBS, the studies can nevertheless model other memory-impacting disorders, such as Traumatic Brain Injury (TBI). Methods: Human patients undergoing Phase II invasive monitoring for (...) intractable epilepsy were implanted with depth electrodes capable of recording neurophysiological signals. Subjects performed a delayed-match-to-sample (DMS) memory task while hippocampal ensembles from CA1 and CA3 cell layers were recorded to estimate a multi-input, multi-output (MIMO) model of CA3-to-CA1 neural encoding and a memory decoding model (MDM) to decode memory information from CA3 and CA1 neuronal signals. After model estimation, subjects again performed the DMS task while either MIMO-based or MDM-based patterned stimulation was delivered to CA1 electrode sites during the encoding phase of the DMS trials. Each subject was sorted (post hoc) by prior experience of repeated and/or mild-to-moderate brain injury (RMBI), TBI, or no history (control) and scored for percentage successful delayed recognition (DR) recall on stimulated vs. non-stimulated DMS trials. The subject’s medical history was unknown to the experimenters until after individual subject memory retention results were scored. Results: When examined compared to control subjects, both TBI and RMBI subjects showed increased memory retention in response to both MIMO and MDM-based hippocampal stimulation. Furthermore, effects of stimulation were also greater in subjects who were evaluated as having pre-existing mild-to-moderate memory impairment. Conclusion: These results show that hippocampal stimulation for memory facilitation was more beneficial for subjects who had previously suffered a brain injury (other than epilepsy), compared to control (epilepsy) subjects who had not suffered a brain injury. This study demonstrates that the epilepsy/intracranial recording model can be extended to test the ability of DBS to restore memory function in subjects who previously suffered a brain injury other than epilepsy, and support further investigation into the beneficial effect of DBS in TBI patients. (shrink)

The processes mediating dynamic and flexible responding to rapidly changing task-environments are not well understood. In the present research we employ a Stroop procedure to clarify the contribution of context-sensitive control processes to online performance. In prior work Stroop interference varied as a function of probe location context, with larger Stroop interference occurring for contexts associated with a high proportion of congruent items [Crump, M. J., Gong, Z., & Milliken, B. . The context-specific proportion congruent stroop effect: location as (...) a contextual cue. Psychonomic Bulletin & Review, 13, 316–321.] Here, we demonstrate that this effect does not depend on awareness of the context manipulation, but that it can depend on attention to the predictive context dimension, and on the relative salience of the target and predictive context dimensions. We discuss the implications of our results for current theories of cognitive control. (shrink)

Here the philosopher and physicist David Z Albert argues, among other things, that the difference between past and future can be understood as a mechanical phenomenon of nature and that quantum mechanics makes it impossible to present the entirety of what can be said about the world as a narrative of “befores” and “afters.”.

Establishment holds that thc psychological mechanism of inference is the ment psychological thcorizing. Moreover, given this conciliatory reading, transformation of mental representations, it follows that perception is in.

: A familiar criticism of bioethics charges it with being more conceptual than practical—having little application to the "real world." In order to answer its critics and keep its feet on the ground, bioethics must utilize the social sciences more effectively. Empirical research can provide the bridge between conceiving a moral vision of a better world, and actually enacting it.

Recently, growing numbers of interns, apprentices, and volunteers are being recruited to work seasonally on ecologically oriented and organic farms across the global north. To date, there has been very little research examining these emergent forms of non-waged work. In this paper, we analyze the relationships between non-waged agricultural work and the economic circumstances of small- to medium-size farms and the non-economic ambitions of farm operators. We do so through a quantitative and qualitative analysis of farmers’ responses to two surveys (...) we conducted of farmers using non-waged workers in Ontario, Canada. We situate our analysis within debates on the agrarian question, which we contend requires an account for both the economic and non-economic dimensions of new forms of non-waged work on farms. We suggest that many ecologically oriented farm operators are struggling financially and report low gross on-farm revenues and personal incomes. We argue that in addition to relying on off-farm incomes and self-exploitation, many farms are managing to persist in a challenging economic climate through their use of intern, apprentice, and volunteer labor. However, we also suggest that the growth of non-waged work on farms is not simply being driven by economic processes but also a series of non-economic relationships focused on non-institutional farmer training, the pursuit of sustainability, and social movement building. We suggest, the “economic” and “non-economic” dimensions of internships, apprenticeships, and forms of volunteerism sit uneasily alongside of one another, generating questions about the politics, ethics, and sustainability of non-waged work and ecological farming. (shrink)

A familiar criticism of bioethics charges it with being more conceptual than practical—having little application to the “real world.” In order to answer its critics and keep its feet on the ground, bioethics must utilize the social sciences more effectively. Empirical research can provide the bridge between conceiving a moral vision of a better world, and actually enacting it.

Mental health care providers increasingly confront challenges posed by the introduction of new neurotechnology into the clinic, but little is known about the impact of such capabilities on practice patterns and relationships with patients. To address this important gap, we sought providers’ perspectives on the potential clinical translation of functional neuroimaging for prediction and diagnosis of mental illness. We conducted 32 semi-structured telephone interviews with mental health care providers representing psychiatry, psychology, family medicine, and allied mental health. Our results suggest (...) that mental health providers have begun to re-conceptualize mental illness with a neuroscience gaze. They report an epistemic commitment to the value of a brain scan to provide a meaningful explanation of mental illness for their clients. If functional neuroimaging continues along its projected trajectory to translation, providers will ultimately have to negotiate its role in mental health. Their perspectives, therefore, enrich bioethical discourse surrounding neurotechnology and inform the translational pathway. (shrink)

In January 2023, the Science and Security Board of the Bulletin of the Atomic Scientists moved the hands of the Doomsday Clock forward to 90 s before midnight.

The interaction between philosophy and political parties is one of the most lively questions in the discipline of the history of philosophy and in the battle of ideas today. It affects both specialists in philosophy and representatives of other professions, particularly in the broad realm of creative intellectuals. It excites people of different generations living under different social systems and belonging to different and often opposed classes.

Nelson Goodman was one of the soaring figures of twentieth century philosophy. His work radically reshaped the subject, forcing fundamental reconceptions of philosophy’s problems, ends, and means. Goodman not only contributed to diverse fields, from philosophy of language to aesthetics, from philosophy of science to mereology, his works cut across these and other fields, revealing shared features and connecting links that narrowly focused philosophers overlook. That the author of The Structure of Appearance also wrote Languages of Art is not in (...) the end surprising. (shrink)

This book is a collection of key readings on Minimalist Syntax, the most recent, and arguably most important, theoretical development within the Principles and Parameters approach to syntactic theory. Brings together in one volume the key readings on Minimalist Syntax Includes an introduction and overview of the Minimalist Program written by two prominent researchers Excerpts crucial pieces from the beginning of Minimalism to the most recent work and provides invaluable coverage of the most important topics.

Davidson's token-Token identity theory is based on the indeterminacy of translation. I argue that psychological theories, Like other theories, Are underdetermined by the evidence, And that their reduction, Like other reductions, Is subject to the indeterminacy of translation. This does not invalidate reduction, But it does raise epistemic difficulties. Accepting a claim as law-Like involves uncertainty and risk. There are ideological reasons for thinking that psychophysical reduction involves risks we should not take.

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes artful; (...) but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

Arab countries; intellectual life; congresses.