A comprehensive study of the thought of this French philosopher, the foremost Christian existentialist of this century.

Some incompatibilists about free will or moral responsibility and determinism would abandon their incompatibilism were they to learn that determinism is true. But is it reasonable to flip-flop in this way? In this article, we contend that it is and show what follows. The result is both a defense of a particular incompatibilist strategy and a general framework for assessing other cases of flip-flopping.

Although the advantages of flight at high altitude were early recognized, so also were the physiological problems standing in the way of its realization. The idea of surmounting such problems by means of a pressurized cabin was advocated as early as 1909, while the first attempt to translate the concept into actuality occurred in 1921. Neither it nor several successive attempts enjoyed any real success until a project launched by the U. S. Air Corps in 1935 produced a breakthrough aircraft (...) designated the XC-35. The major reason for the favorable termination of that venture was the thoroughness of the engineering involved. But it is equally notable that this was the first instance in the age of powered flight where there was an active collaboration between the scientists and engineers, a rather curious circumstance in view of the fact that the achievement of altitude record-setting balloon flights in the nineteenth century had owed a great deal to an interconnection of aeronauts and scientists' laboratories. This paper focuses on the physiological investigations which informed the XC-35 engineers while at the same time bringing into being a new aeromedical laboratory taking the first small step toward turning aeromedicine into space medicine. (shrink)

Historically, scientists in training have learned the rules of ethical conduct by the example of their advisors and other senior scientists and by practice. This paper is intended to serve as a guide for the beginning scientist to some fundamental principles of scientific research ethics. The paper focuses less on issues of outright dishonesty or fraud, and more on the positive aspects of ethical scientific behavior; in other words, what a scientist should do to maintain a high level of ethical (...) conduct in research. There are a number of fairly specific rules, guidelines, or commonly accepted operating principles that have evolved for the ethical conduct of science. In order to discuss this code of ethics, this paper is divided into sections dealing with specific areas of scientific ethics. These areas are: data collection and storage, ownership of data, confidentiality, communication, authorship, collaboration, the peer review system, and rules of dealing with ethical complaints. Illustrative case histories are presented to provide examples of the type of ethical dispute or problem being discussed. If scientific trainees learn the accepted rules of behavior that govern the conduct of science, ethical problems that arise out of ignorance, misunderstanding, or poor communication can be avoided. (shrink)

Targeted hypermutation has proven to be a useful survival strategy for bacteria under severe stress and is also used by multicellular organisms in specific instances such as the mammalian immune system. This might appear surprising, given the generally observed deleterious effects of poor replication fidelity/high mutation rate. A previous theoretical model designed to explore the role of replication fidelity in the origin of life was applied to a simulated hypermutation scenario. The results confirmed that the same model is useful for (...) analyzing hypermutation and can predict the effects of the same parameters (survival probability, replication fidelity, mutation effect, and others) on the survival of cellular populations undergoing hypermutation as a result of severe stress. (shrink)

Closely related to this is Mr. Bruner's "evolutionary instrumentalism," his conception of instruction as the means of transmitting the tools and skills of a ...

Evolution in modern life requires high replication fidelity to allow for natural selection. A simulation model utilizing simulated phenotype data on cellular probability of survival was developed to determine how self-replication fidelity could evolve in early life. The results indicate that initial survivability and replication fidelity both contribute to overall fitness as measured by growth rates of the cell population. Survival probability was the more dominant feature, and evolution was possible even with zero replication fidelity. A derived formula for the (...) relationship of survival probability and replication fidelity with growth rate was consistent with the simulated empirical data. Quantitative assessment of continuity and other evidence was obtained for a saltation evolutionary process starting from low to moderate levels of survival probability and self-replication fidelity to reach the high levels seen in modern life forms. (shrink)

At War with War visualizes humanity's 5,000-year-long state of conflict, chaos, and violence on a continuous timeline. Seventy pages of stark black-and-white pen-and-ink drawings and woodcuts illustrate history's most notorious battles -- from 3300 BCE to the present day. Interspersed are contemplations on war from historic thinkers, including excerpts from "The Art of War" by Sun Tsu, "The Complaint of Peace" by Desiderius Erasmus, and "The State" by Randolph Bourne. Searing and sardonic, balancing anger and despair with wit and humanity, (...) these raw illustrations follow in the tradition of great social satirists such as Honoré Daumier, Frans Masereel, Felix Vallotton, and Otto Dix. Seymour Chwast is a design legend. As co-founder with Milton Glaser of Push Pin Studios, he led a revolution in graphic design in the 1960s and '70s, producing bold, vibrant work that pushed the limits of nearly every visual medium.Now, he turns his pen and sketchpad toward creating a new book on a subject that has been a personal obsession for nearly six decades: the fight against war, humankind's never-ending scourge. (shrink)

The key word in amy account of the different ways that visual details are presented by novels and films is "assert." I wish to communicate by that word the force it has in ordinary rhetoric: an "assertion" is a statement, usually an independent sentence or clause, that something is in fact the case, that it is a certain sort of thing, that it does in fact have certain properties or enter into certain relations, namely, those listed. Opposed to asserting there (...) is mere "naming." When I say, "The cart was tiny; it came onto the bridge," I am asserting that certain property of the cart of being small in size and that certain relation of arriving at the bridge. However, when I say "The green cart came onto the bridge," I am asserting nothing more than its arrival at the bridge; the greenness of the cart is not asserted but slipped in without syntactic fuss. It is only named. Textually, it emerges by the way. Now, most film narratives seem to be of the latter textual order: it requires special effort for films to assert a property or relation. The dominant mode is presentational, not assertive. A film doesn't say, "This is the state of affairs," it merely shows you that state of affairs. Of course, there could be a character or a voice-over commentator asserting a property or relation; but then the film would be using its sound track in much the same way as fiction uses assertive syntax. It is not cinematic description but merely description by literary assertion transferred to film. Filmmakers and critics traditionally show disdain for verbal commentary because it explicates what, they feel, should be implicated visually. So in its essential visual mode, film does not describe at all but merely presents; or better, it depicts, in the original etymological sense of that word: renders in pictorial form. I don't think that this is mere purism or a die-hard adherence to silent films. Film attracts that component of our perceptual apparatus which we tend to favor over the other senses. Seeing, after all, is believing. Seymour Chatman, professor in the department of rhetoric at the University of California, Berkeley, is the author of The Later Style of Henry James and Story and Discourse: Narrative Structure in Fiction and Film. His contribution to Critical Inquiry, "Reply to Barbara Herrnstein Smith" appeared in the Summer 1981 issue. (shrink)