In the very first issue of the Journal of Consciousness Studies, dualist John Beloff discusses the problem of how interactions may occur between the supposedly different realms of mind and matter. It is indeed the case that meta-analyses covering many years of research give very strong support to the reality of psi phenomena . Historical analysis has shown, however, that the results of some of the stronger paradigms are subject to a decline effect after an initial successful period of (...) ten to twenty years. And even if the reality of the phenomena stand up against time, a proper use of the available data -- as opposed to Beloff's selective use of it -- would at least complicate the naive interactionist picture and in fact argue against the dualist perspective. (shrink)

Beloff, elder statesman of the international parapsychological community, presents the fruits of his life-long struggle to come to terms with the paranormal. These take the form of 16 selected essays in chronological order, spanning a period of more than twenty years. These essays deal with topics such as the nature of psi phenomena, their credibility and their diverse philosophical and scientific implications. No subject index. Annotation copyrighted by Book News, Inc., Portland, OR.

The article begins with a discussion about what might constitute consciousness in entities other than oneself and the implications of the mind-brain debate for the possibility of a conscious machine. While referring to several other facets of the philosophy of mind, the author focuses on epiphenomenalism and interactionism and presents a critique of the former in terms of biological evolution. The interactionist argument supports the relevance of parapsychology to the problem of consciousness and the statistical technique of meta-analysis is cited (...) in support of this position. (shrink)

_Two positions on the mind-body problem are here_ _compared:__Materialism__, which is here taken to mean the thesis_ _that mind plays no part in the determination of behaviour so that,_ _for all the good it does us, we might just as well have evolved as_ _insentient automata, and_ _Ineractionism_ _which is here taken as its_ _contradictory._.

The paper argues that there are effectively only two tenable theories of the mind?brain relationship: ?epiphenomenalism? and ?radical dualism? (interactionism). So long as account is taken only of the conventional sciences, the odds are heavily stacked in favour of epiphenomenalism. However, once the findings of parapsychology are admitted to consideration, a very different situation obtains. It is here argued that parapsychology only makes sense within a dualist metaphysic.

Two questions are examined (a) the differences between creative and uncreative individuals and (b) the differences between artists and scientists. It is concluded that while divergent thinking is a necessary feature of the creative process alike in art and in science the scientific intellect exemplifies more the convergent type. Contrary to what most authorities have said it is here argued that creativity depends more upon the presence of a certain inborn flair than upon personality dynamics.

Abstract The Me as a socially constructed self presenting itself, is the subject of new conceptual interest. Discourse analysis is the preferred tool for analysis of the linguistic repertoires that we use to order the experience of our selves. But we also present ourselves visually, with some care. An attempt is made to apply a kind of discourse analysis to self?portraits by eminent photographers. Within the process of portraiture and the rules of the pose, professionals should be able to present (...) their true visions of themselves. Specific dilemmas are likely. While women have been the site of many contradictions in themselves as a sight, men in their images must be prepared to bear the castrating power of ?the look?. It might even be that in some romantic sense, there is the revelation of an authentic, spontaneous self. A set of ten examplars is interpreted, ranging from 1901 to 1986. The photographic evidence for men clearly shows situational self?characteristics in terms of the role of the photographer in the period. Although the women included are comparable in status, using the non?verbal interpretative models of Goffman and Wex, they rather demonstrate signs of the conventional submissive feminine identity. Such an analysis of visual discourse cannot decide on the degree of awareness in the presentations. Further the interpretations are as open to rational contradiction as other forms of discourse analysis. (shrink)

Alfons Schilling began his long‐term investigations on perception during the early 1960s by designing motion paintings,1 and continued the research with design of optical instruments called Vision Machines.2 Schilling's experiments were constructed as head‐worn objects, or instruments, in various shapes and sizes, which transformed the viewer's perception through first‐hand experience.

Abstract An attempt is made to examine the main principles that underlay the ?Rhinean? school of parapsychology. Five such principles are discussed: (1) that psi can best be assessed using quantitative measures and forced?choice tests; (2) that psi is a function of the unconscious with the implication that objective performance alone is important, not the state of mind of the subject; (3) that psi ability is, to some degree, present in everyone; (4) that only those problems deserve attention for which (...) an unambiguous answer is attainable, with the implication that survival research should be shelved indefinitely and (5) that psi is non?physical. These five principles are then reviewed from our present vantage point and all are found to require qualification to a greater or lesser extent. Some critics, however, want to go further and allege that Rhine led psychical research into a blind alley and that the time has come to revert to the earlier investigative tradition. This, we contend, is defeatist, the more especially since the advent of computers has greatly extended the scope and power of the experimental approach. Despite its inherent difficulties, it remains the indispensable mainstay of our continuing efforts to make sense of the paranormal. (shrink)

The wearable technology field, including terms and areas such as wearable computing and fashionable technology, has been evolving at the cross-section of various disciplines including science, technology, arts, augmented reality, design, cybernetics, ergonomics and fashion. As an example, the research community in wearable computing has been carrying out profound work in understanding and defining many key principles in the field. According to these researchers, the wearable computer is understood as a kind of extension of the body, which enables it to (...) perform tasks that would not otherwise be possible, such as being in several places at the same time.1This is an example of one of the approaches currently existing in this multifaceted field. The field also contains other detectable approaches, each with their own distinct aim. These approaches vary from developing solutions to engineering problems to developments in fashion and design and further to more conceptual approaches in addressing the field with what the author refers to as a playful attitude. When one investigates various projects in the wearable field more closely one can detect at least three clearly distinct approaches. The first approach is to follow the general guidelines for wearable computing development and objectives defined during the 1990s. The second approach sometimes called fashionable technology, to some extent follows similar directives as the first approach, but, in addition, it is strongly related to traditions and expectations in the areas of fashion and textile. The third approach has self-defined aims, which are partially contradictory to the general goals prevailing in the field. This third approach has been left almost without a notice in publications emerging from the field as well as in other theoretical writings concerned of art and technology. Until now the wearable technology field has been discussed primarily as one unified area striving towards similar goals.This article investigates this third approach. It asks how and why some of the projects in the field seem to differ from the general goals persisting in the field, and examines what the possible motivations and intentions behind this alternative approach are. Lastly, the article introduces the Hybronaut as a concept related to the author's practice and research. (shrink)

The last decade has seen the dawn of a technological development towards a wireless-networked world. Various mobile interfaces have started to appear like laptop computer, PDA, mobile phone, Blueberry. The zenith of this development is the full distribution of computation and networks into every aspect of our life. Everything will become an interface, from a cup to a shirt. Wireless networks and multifarious interfaces will blend invisibly into our everyday life and environment. This emerging infrastructure and its significant impact on (...) our life provide new conditions for artistic practice. What kind of artworks and art forms are emerging from this situation? How does this technological development reflect on artistic practice? The ideas from the late 1960s and early 1970s art theory about immateriality seem to be a promising starting point. They are relevant to contemporary artists working with digital technologies. These artists are employing a new set of forms and media, which are increasingly immaterial. The nature of art and objects, how we relate to and read them, has changed. This paper is an investigation into immateriality versus materiality mainly focusing on mobile art. It looks at the situation from the viewpoint of an artist a maker and thinker of things and objects. The text is divided into four sections. The first section introduces few cases, which have been concerned about immateriality in art from the recent 40 years of art history. The second section talks about artistic practices, which focus on mobile art and mobile technologies. The third section is about transformation of objects, and the text ends with an assumption about the role of the artist. (shrink)

Orthologic is defined by weakening the axioms and rules of inference of the classical propositional calculus. The resulting Lindenbaum-Tarski quotient algebra is an orthoimplication algebra which generalizes the author's implication algebra. The associated order structure is a semi-orthomodular lattice. The theory of orthomodular lattices is obtained by adjoining a falsity symbol to the underlying orthologic or a least element to the orthoimplication algebra.

The purpose of this text is to draw attention to eight forgotten heroes: William C. Bagley, Charles DeGarmo, David Felmley, William Torrey Harris, Isaac L. Kandel, Charles McMurry, William C. Ruediger, and Edward Austin Sheldon. They have been marginalized from our profession, and drawing upon their legacy is the best hope for restoring the profession of teaching today. This work also includes a chapter at the end of the book entitled "John Dewey's Forgotten Essays." The audience for this book includes: (...) 1) classroom teachers, 2) school administrators, 3) teacher educators, 4) deans and other university administrators, 5) college and university presidents, 6) legislators, 7) historians of education, 8) curriculum specialists, 9) specialists in teacher training, and 10) the general public. (shrink)