The origin of marine invertebrate larvae has been an area of controversy in developmental evolution for over a century. Here, we address the question of whether a pelagic “larval” or benthic “adult” morphology originated first in metazoan lineages by testing the hypothesis that particular gene co-option patterns will be associated with the origin of feeding, indirect developing larval forms. Empirical evidence bearing on this hypothesis is derivable from gene expression studies of the sea urchin larval gut of two closely related (...) but differently developing congenerics, Heliocidaris tuberculata (feeding indirect-developing larva) and H. erythrogramma (nonfeeding direct developer), given two subsidiary hypotheses. (1) If larval gut gene expression in H. tuberculata was co-opted from an ancestral adult expression pattern, then the gut expression pattern will remain in adult H. erythrogramma despite its direct development. (2) Genes expressed in the larval gut of H. tuberculata will not have a coordinated expression pattern in H. erythrogramma larvae due to loss of a functional gut. Five structural genes expressed in the invaginating archenteron of H. tuberculata during gastrulation exhibit substantially different expression patterns in H. erythrogramma with only one remaining endoderm specific. Expression of these genes in the adult of H. erythrogramma and larval gut of H. tuberculata, but not in H. erythrogramma larval endoderm, supports the hypothesis that they first played roles in the formation of adult structures and were subsequently recruited into larval ontogeny during the origin and evolution of feeding planktotrophic deuterostome larvae. (shrink)

When in May 1930, the Council of Trinity College, Cambridge, had to decide whether to renew Wittgenstein's research grant, it turned to Bertrand Russell for an assessment of the work Wittgenstein had been doing over the past year. His verdict: "The theories contained in this new work... are novel, very original and indubitably important. Whether they are true, I do not know. As a logician who likes simplicity, I should like to think that they are not, but from what I (...) have read of them I am quite sure that he ought to have an opportunity to work them out, since, when completed, they may easily prove to constitute a whole new philosophy." "[Philosophical Remarks] contains the seeds of Wittgenstein's later philosophy of mind and of mathematics. Principally, he here discusses the role of indispensable in language, criticizing Russell's The Analysis of Mind. He modifies the Tractatus's picture theory of meaning by stressing that the connection between the proposition and reality is not found in the picture itself. He analyzes generality in and out of mathematics, and the notions of proof and experiment. He formulates a pain/private-language argument and discusses both behaviorism and the verifiability principle. The work is difficult but important, and it belongs in every philosophy collection."—Robert Hoffman, Philosophy "Any serious student of Wittgenstein's work will want to study his Philosophical Remarks as a transitional book between his two great masterpieces. The Remarks is thus indispensible for anyone who seeks a complete understanding of Wittgenstein's philosophy."—Leonard Linsky, American Philosophical Association. (shrink)

In the past decade, the notion of a neural correlate of consciousness has become a focal point for scientific research on consciousness. A growing number of investigators believe that the first step toward a science of consciousness is to discover the neural correlates of consciousness. Indeed, Francis Crick has gone so far as to proclaim that ‘we need to discover the neural correlates of consciousness. For this task the primate visual system seems especially attractive. No longer need one spend time (...) attempting to endure the tedium of philosophers perpetually disagreeing with each other. Consciousness is now largely a scientific problem’. Yet the question of what it means to be a neural correlate of consciousness is actually far from straightforward, for it involves fundamental empirical, methodological, and philosophical issues about the nature of consciousness and its relationship to the brain. Even if one assumes, as we do, that states of consciousness causally depend on states of the brain, one can nevertheless wonder in what sense there is, or could be, such a thing as a neural correlate of consciousness. (shrink)

'PERHAPS WHAT is inexpressible (what I find mysterious and am not able to express)', wrote Wittgenstein, 'is the background against which whatever I could express has its meaning'. Wittgenstein's remark is a useful reminder to all who attempt to write about the nature and the value of art, for there our powers of expression often seem inadequate to the phenomena we aim to describe. In such cases it is natural to direct attention to the 'background' of aesthetic experience itself. In (...) consequence, many philosophical elucidations of art works will make good sense only to whose who are already engaged with them on their own terms—engaged with their distinctive character and forms. That this is so is perhaps most evident when the philosopher's target is the art of music. Roger Scruton's latest contribution to philosophical aesthetics, The Aesthetics of MusIc, is guided by a deep appreciation of the background of musical experience and he often allows music to speak for itself, through musical example and illustration. This study is exceptionally, if not uniquely, informed by a wide and thorough acquaintance with its subject matter, and it is commendably replete with references to, andmusic examples illustrating specific compositions. (shrink)

Alison Denham examines the ways in which our engagement with literary art, and metaphorical discourse in particular, informs our moral beliefs. She considers to what extent moral and metaphorical discourses are capable of truth or falsehood, warrant or justification, and how it is that we understand these discourses. This vital new study offers a fresh view of the nature of the moral and the metaphorical, and the relations between art and morality.