En este artículo se presenta el guión de una conferencia que Roberto Lehmann-Nitsche, pocos años después de radicarse en la Argentina, desarrolló en 1901 acerca del folklore mapuche. La intervención se realizó a solicitud de la Deutschen Frauen Verein, una asociación de mujeres alemanas con sede en la ciudad de Buenos Aires, y abordó aspectos teóricos sobre esta disciplina, entonces en expansión, desde la perspectiva germana. Además, realizó una catalogación de los materiales empíricos documentados por este antropólogo durante los primeros (...) años de su residencia en el país. El texto original, hasta el momento inédito, se entrega en su versión en alemán y en traducción al español. En la presentación se proporciona un análisis que permite reconocer cómo en esta intervención se integran apreciaciones que Lehmann-Nitsche también sostuvo en posteriores publicaciones científicas y de divulgación por él realizadas. Como se sabe, su producción en el campo del folklore comprendió dos vertientes: por un lado, el folklore criollo y por otro, el devenido de arte verbal y tradiciones de los pueblos indígenas preexistentes, en especial textos correspondientes a géneros narrativos y adivinanzas en las lenguas propias y en castellano. En relación con este último aspecto, se retoman aportes de autores filiados en la tradición germana a fin de indicar afinidades y vínculos, con algunos americanistas que eran sus contemporáneos. (shrink)

The scientific life in mid-seventeenth-century Europe was characterised by numerous academies of sciences and scientific associations whose aim was to propagate the development of the sciences, art and literature. Some have called it “the new Age of Academies all over Europe”. These institutions brought together not only educated professionals but also a large number of amateur scientists. They called for the deliberate abandonment of verbal dispute in favour of visual demonstration/experimentation, and for the creation of paid (...) class='Hi'>scientific professionals who would devote their full time to the enterprise. These scientists conducted numerous experiments, the results of which were demonstrated at academic sessions. Franciszek Bieliński became Grand Marshal of the Crown in 1742. During the many years of his public service, he aimed to improve the well-being of Warsaw inhabitants, especially by paving the streets and creating a modern sewerage system. In the light of recent scholarly studies, Franciszek Bieliński is perceived as a figure of very wide horizons, striving to join the Parisian academic scientific discourse in order to transfer knowledge and technology to Poland. Bieliński exchanged letters with the eminent member and three-time president of the Paris Academy of Sciences, Henri Louis Duhamel du Monceau, who among numerous other projects tested new methods of horticulture, agriculture and forestry. The article aims to discuss the scientific research undertaken by Bieliński in regards to technology transfer in the area of agriculture, on the basis of unanalysed documents. Recently found correspondence shows that Grand Marshal Bieliński was involved in experimental research supervised by Duhamel du Monceau, under the aegis of the Paris Academy of Sciences. It pertained to modern agricultural crops and the application of new technologies. The agricultural experiments that Bieliński carried out on his private lands in Otwock over many years focused on improving and increasing agricultural production in accordance with the instructions given by Duhamel du Monceau. An interesting research finding was the detailed description of one of the earliest transfers of advanced technology in the field of agricultural machinery. Reports of the work conducted in Poland, which were sent to Duhamel du Monceau, proved to be so useful and important that the latter mentioned these in the proceedings of the Paris Academy of Sciences. (shrink)

In his novel Remembrance of Things Past, Marcel Proust argues that conventional descriptions of the phenomenology of consciousness are incomplete because they focus too much on the highly-salient sensory information that dominates each moment of awareness and ignore the network of associations that lies in the background. In this paper, I explicate Proust’s theory of conscious experience and show how it leads him directly to a theory of aesthetic perception. Proust’s division of awareness into two components roughly corresponds to William (...) James’ division of the stream of thought into a “nucleus” and “fringe.” Proust argues that the function of art is to evoke the underlying associative network indirectly in the mind of the observer by using carefully chosen sensory surfaces to control the stream of thought. I propose a possible neural basis for this Proustian/Jamesian phenomenology, and argue that the general principles of Proustian aesthetics can be applied to all forms of art. I conclude that a scientific theory of art should follow in a straightforward manner from a scientific theory of consciousness. (shrink)

The interactive correspondence of art, science, and preservation supports the composition of a four-volume anonymous herbarium originally belonging first to the Venetian library of Ambassador Hurtado de Mendoza, and later endowed to the Royal Library of the Monastery-Palace of El Escorial. This planted knowledge consist­ed of artistic and scientific practices to preserve not only the plants dried and glued to recycled paper, but the association of those plants, with names, stories, and contexts in ways that attest to the (...) development of natural history and philosophy in sixteenth-century Italy and Spain. This article describes and analyzes the composition of the Hurtado herbarium, its provenance, and its place in the context of early modern European naturalism and botany. Finally, it considers problems of reading this collection, and possible solutions to better understand the herbarium in El Escorial as another piece of this network of dissemination of ethnobotanical knowledge in early modern Europe. (shrink)

For fifteen years, from 1662 until his death in 1677, Henry Oldenburg served the Royal Society as second Secretary and was charged with almost the entire burden of its correspondence, domestic and foreign. During this time he acted as a centre for the communication of scientific news, searching out new sources of information, encouraging men everywhere to make their work public, acting as an intermediary between scientists and, through the Philosophical Transactions, providing a medium for the publication of (...) short scientific papers. Oldenburg's contribution to scientific communication was unique in the seventeenth century, not least because he represented the Royal Society and served all its members impartially. It is not too much to say that he invented the professions of scientific administrator and scientific journalist. (shrink)

In France between 1780 and 1815, doctors opened a broad correspondence with medical faculties and public officials about foetal anomalies . Institutional and legal reforms forced doctors to encounter monstrous births with greater frequency, and they responded by developing new ideas about heredity and embryology to explain malformations to public officials. Though doctors achieved consensus on pathogenesis, they struggled to apply these ideas in forensic cases, especially with doubtful sex. Medical networks simultaneously allowed doctors to explore obstetrical techniques, (...) as licensing regulations forced practitioners into emotional encounters with child anomalies. Doctors thus developed a new ethics for treating monstrosities, viewing them as pathological specimens, forensic objects, and obstetrical tragedies. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Decades of psychological research have been aimed at modeling how people learn features and categories. The empirical validation of these theories is often based on artificial stimuli with simple representations. Recently, deep neural networks have reached or surpassed human accuracy on tasks such as identifying objects in natural images. These networks learn representations of real‐world stimuli that can potentially be leveraged to capture psychological representations. We find that state‐of‐the‐art object classification networks provide surprisingly accurate predictions of human (...) similarity judgments for natural images, but they fail to capture some of the structure represented by people. We show that a simple transformation that corrects these discrepancies can be obtained through convex optimization. We use the resulting representations to predict the difficulty of learning novel categories of natural images. Our results extend the scope of psychological experiments and computational modeling by enabling tractable use of large natural stimulus sets. (shrink)

The article characterizes post-folklore as a cultural phenomenon of the network society and defines various aspects of its functioning − sociocommunicative, cultural and psychological. The research methodology consisted of a set of basic approaches, principles and methods of scientific research. To achieve the goal, a set of general scientific and special methods was used, including the methods of logical analysis, problemchronological, generalization, synthesis, induction, and analogy.Research results. It has been proven that post-folkloric creativity is important for the development (...) of social communications, as it promotes the exchange of information between users of social networks, conveys people’s knowledge, moods, feelings, and emotions. In the cultural aspect, the works of post-folklore appear as cultural heritage of modern urbanized society and are represented by various types and genres. From the point of view of psychology, post-folklore has an impact on individual and social consciousness, on the development of cognitive processes, etc. The emergence of post-folklore in the field of education is separately mentioned, which indicates its important importance for the formation of the worldview of school youth.Conclusions. Today post-folklore is the subject of scientific research as a phenomenon of mass culture and network society, as a means of social communication, as a phenomenon that has an impact on public and individual consciousness and is gradually being established in the field of education. In the era of accelerated development of information and communication technologies, everyone has the opportunity to become a collector or author of post-folkloric creativity. Further research is planned to be carried out in the direction of studying the prospects for the development of post-folklore in Ukrainian and foreign cultures. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent formal (...) conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

Odour-sound correspondences provide some of the most fascinating and intriguing examples of crossmodal associations, in part, because it is unclear from where exactly they originate. Although frequently used as similes, or figures of speech, in both literature and poetry, such smell-sound correspondences have recently started to attract the attention of experimental researchers too. To date, the findings clearly demonstrate that the majority of non-synaesthetic individuals associate orthonasally-presented odours with various different sound properties, e.g., pitch, instrument type, and timbre, in a (...) non-random manner. What is more, these auditory-olfactory associations exhibit a number of features that are common to other crossmodal associations, such as their consistency over time, and their bidirectionality. However, the psychological mechanism underpinning these associations in the general population remain unclear, with a number of distinct hypotheses having been put forward over the years. In this chapter, we consider auditory-olfactory associations in art and science, focusing on poetry, music composition, and performance. First, we provide examples of the use of auditory-olfactory synaesthetic metaphors in poetry, from William Shakespeare through to Romanticism, illustrating how crossmodal associations have appeared in literature for centuries. Then, we move on to focus on music composition and performance, describing a number of examples where auditory stimuli have been purposely matched with crossmodally corresponding olfactory and/or visual stimuli. Considering the scientific study of smell-sound correspondences, we review the key psychophysical studies demonstrating that, beyond the artistic context, robust and non-random crossmodal associations are also triggered in the majority of the general population. We discuss a number of hypotheses that have been put forward over the years to account for such associations, focusing on the idea that certain correspondences between olfactory and auditory stimuli are mediated by the emotional character of the component stimuli. (shrink)

The paper describes a thread that binds past beliefs and practices with current technology and how that might be used to interpret current artistic progress. This requires an examination of Gnostic ideas, and an account of scientific and metaphysic research into the idea of networked systems and connectivity. The implementations and development of different codes as tools for sound composing is discussed. Two apparently contradictory contemporary trends are identified: (a) the growing homogenization of consumer culture that can be seen (...) as digital reincarnation of the common elements of ancient folk music and (b) the distribution and fragmentation of musical sources and outlets from which new structures and perceptions can emerge. I will present these trends and their foundations and tie them with current artistic development. (shrink)

The article is devoted to a comprehensive analysis of the transformation of the reflection of computer technologies and network resources in the Terminator cinematic and literary universe created by the American director J. Cameron in the mid 1980s and early 2020s. In this study the authors substantiate the relevance and scientific component of the problem under study. The paper considers the degree of importance of high technologies and social networks in modern public life. The article provides a justification (...) for the fallacy of the judgment, according to which works of fiction of a fantastic orientation perform purely entertaining function and do not carry a significant semantic load. This article also provides an argument for choosing the Terminator fantastic universe as an example for research, wit an analysis of the reasons for its great popularity and high degree of significance for contemporary art. The authors of the work subject the key components of the topic under consideration to reflection, taking into account the changes that have taken place in the public consciousness over three and a half decades, takin inti account the differences in historical and political realities – from the last quarter of the 20-th century to the present, until the beginning of the third decade of the XXI century. This article provides a comparative analysis of the reasons for significant differences in the display of high technology and online resources in cinema and fiction. The work draws parallels and analogies with historical events, analyzes the use of the religious meanings used in the Terminator universe. The authors of the article analyze the moral issues that are raised by the creators of the fantastic universe of Terminator in the context of the positive and negative consequences of the intense growth of the role of high technologies and communicative Internet sites in the life of human society. (shrink)

This article first analyzes the research background of the design elements of cognitive psychology and neural networks at home and abroad, roughly understands the research status and research background of these two courses at home and abroad, and discusses the application of cognitive psychology to neural networks. The design method has not yet formed a systematic theoretical system. Then, a systematic theoretical analysis of the research in this article is carried out to analyze the relationship between the various (...) characteristics of cognitive psychology and the design elements of the neural network, and it uses these relationships to guide the design practice. Second, it analyzes the relationship between the influence and interaction of cognitive psychology on neural network design and connects cognitive psychology with neural network design. Finally, according to the theoretical analysis and research of the system, the application of cognitive psychology in neural network design, design practice, and the relationship between the two are systematically reviewed. Through the exploratory research on cognitive psychology in neural network design, we can see that the combination of neural network design and psychology, art aesthetics, and other cross-disciplinary and multidisciplinary research is necessary, which can promote the scientific and technological progress of neural network design in the context of the information age and the improvement of public mental health. Under the background of the era in which the neural network design becomes the link between people's emotions and culture, we must fully understand the essential role of each element in neural network design and build a design concept based on cognitive psychology and emotional experience. It is hoped that the content of this topic can provide a certain reference value for the future development of neural network design and cognitive psychology and clarify the new development direction. (shrink)

BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one of (...) two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

This article is about the art of portrait in Fénelon's spiritual correspondence. It distinguishes two categories of portraits: some are generic, others are from the inside, individual and detailed. The article also analyses some exemplary personalities such as the Contesses de Gramont, de Montberon or Madame Guyon. Divergences between "high society portraits" and "spiritual portraits" are outlined. The spiritual portrait is being analysed based on main character studies (Madame de Maintenon and the Duc de Bourgogne), as well as deep (...) speech exploration (lexicon, rhetorical systems). The overall study also takes into account the cultural and scientific context of the time. (shrink)

In the mid 1960s two artists associated with Fluxus, Milan Knk and Ken Friedman, began corresponding about the possibilities for conceptual and material exchange through the new media, or intermedia, of actions and correspondence art. To make connections across the geographic and political barrier between Eastern Europe and the West, they used flexible media within a distributive cognitive network to communicate about living and working counter to conformity and inertia in both places. Their use of intermedia reveals a pattern (...) of international information exchange that distinguishes contemporary art and experience from the modern. (shrink)

In this review we deal with open quantum systems within the Bohmian mechanics framework which has the advantage to provide a clear picture of quantum phenomena in terms of trajectories, originally in configuration space. The gradual decoherence process is studied from linear and nonlinear Schrödinger equations through Bohmian trajectories as well as by using the so-called quantum-classical transition differential equation through scaled trajectories. This transition is governed by a continuous parameter, the transition parameter, covering these two extreme open dynamical regimes. (...) Thus, two sources of decoherence of different nature are going to be considered. Several examples will be presented and discussed in order to illustrate the corresponding theory behind each case, namely: the so-called Brownian–Bohmian motion leading to quantum diffusion coefficients, dissipative diffraction in time, dissipative tunnelling for a parabolic barrier under the presence of an electric field and stochastic early arrivals for the same type of barrier. In order to simplify the notations and physical discussion, the theoretical developments will be carried out in one dimension throughout all this wok. One of the main goals is to analyze the gradual decoherence process existing in these open dynamical regimes in terms of trajectories, leading to a more intuitive way of understanding the underlying physics in order to gain new insights. (shrink)

Immanuel Kant’s Observations on the Feeling of the Beautiful and the Sublime is examined in the context of the emergence of the epistemological practice of scientific observation. By focusing on the genre-stylistic and semantic-structural features of the text the authors demonstrate the mechanisms of observation as well as the methods of describing the results characteristic of mid-eighteenth century science. The authors consider Kant’s treatise to be a hybrid text: on the one hand, it attests to the importance of the (...) natural science paradigm and the degree of its influence on the humanities in the modern period; and, on the other hand, it bears witness to the multi-genre character of philosophical treatises, combining as they do the considered and serious wisdom of philosophy, the precision of scientific terminology and the figurativeness of a work of fiction. Kant is perceived not only as a researcher and philosopher capable of bringing out the essence of the particular and changeable captured in observation, but as a writer with a consummate command of the apparatus for keeping the reader’s attention through linguistic devices and practices of image-creating. The authors demonstrate how the categories of the “beautiful” and “sublime” become a general framework for the description of the moral and mental properties of human nature. The authors show that Kant’s use of “aesthetic” wording in the title of his treatise does not announce that his aim is analysis of artistic perception and practices, but mainly refers to the form of his anthropological study and conceptualisation of scientific knowledge. Kant has transferred the technique of visualisation from natural sciences to the objects of philosophical inquiry, thus contributing to the development in the humanities of representative practices, the scientific method of observation as well as the corresponding epistemic and literary genre. (shrink)

People's desire not to limit the meaning of Hancang driving force, continuous development and self-transcendence, which is people from within and beyond the root driving force. The so-called "inner beyond" is not a process of idealism, which began with the desire, from the bottom of the body, and go up on the layer by layer through the heart of the development process裡and mental flexibility, and would therefore have to enhance and transform. We regard the body as I desire the presence (...) of mode. Significance by the driving force in the body and thus close to the appearance, at first non-verbal, and then eventually completed in the language of representation. Through a variety of different non-linguistic representation, the meaning of the body of the driving force to obtain specific and differentiation, as music, art, dance, drama art form ... ... and so on. These different forms of art of common origins, is made ​​to understand the forms of physical exercise, as they are each other's differences, then is made ​​to understand the form of different, such as voice, image, attitude ... ... and so the nature and rules lawyers, and the rise because of their differences on the artistic and cultural expressions of different, and even the formation of the various arts precinct. In order to film art integrated voice, image and body movement, presented at the time of the current moving image, to the above description of the story. Different types of art is "the desire of the induced mover", which provides clear instructions and guidance In order to man the desire for meaning. The meaning of desire is the driving force of development of art in different fields to cross-border basic driving force. Story has entered into a description of the classification of the appearance of language, its basic features is metaphorical. Cross-disciplinary domain of the past will pin their hopes on the concepts and logical reasoning and arguments permit. Today, the language of metaphor for understanding the nature, making metaphor and narrative clues as cross-domain, and in the humanities, social sciences, natural sciences and even among. The reason why life events, actions and circumstances can be constructed to the story, because there I am with the interaction between multiple otherness, its impetus came from one continuous extrapolation, and extrapolation of each other. And diversity of his stories were always the people the story, and always coming to the multivariate description of those who hear him. Through stories, we witness In order to the meaning of life, but always to witness the way metaphor and description of each story to each other through mutual enrichment. Description of the future, after all, the story, no matter real or imagined, there is established based on the relationship regardless of which I was with him who have the freedom in the relationship, a relationship in freedom. It is also across the world who can not break the fundamental driving force and field-based. This paper assumes that there is an undetermined dynamic energy for meaningfulness in human desire, which develops and transcends any particular realization. This is the original energy by which human beings could attain transcendence by way of immanence, which is not an idealist process, but rather originated from a body-based desire that develops upwards and fuller to integrate the mental and the spiritual. Representability, first non-linguistic and then linguistic, is the access to meaning for our desire that takes body as its mode of existence. Through different forms of representation, such as sounds, pictures and gestures ... etc., the project of meaning is specified. The movement of body in intelligible forms is the common origin of music, dancing and performative arts. Cultural difference and artistic boundaries are based upon differences in the nature and rule of these intelligible forms. The art of filming, which synthesizes image, music and body movement in presenting images moving in time so as to tell stories of various kinds. All forms of art are "inducers of desire" by articulating, determining and guiding our desire for meaning. This dynamic development of our desire for meaning is the common basic energy by which we can cross the borders of different arts. Story-telling presupposes linguistic representation accessible to our meaning dynamism. In the past, concepts and logical reasoning and argumentation were taken to be the hope for interdisciplinary research. But now, with the better understanding we have of the metaphoric nature of language, metaphors and narratives are taken to be the clue for a cross-bordering effort in different sciences, human , social and natural. If there are events, actions and plots in human existence to be constructed as stories, it is because there is always interaction with multiple others, the dynamism of it consisting in our incessant act of strangification and mutual strangification. Stories are always stories about one self with multiple others and told to multiple others. By telling stories, we witness a particular way of meaningful life, always metaphorically interpreted. We achieve mutual enrichment by telling stories to each other. The ultimate foundation of cross-bordering in arts and scientific disciplines consists in the ontology of dynamic relation, in which there is relatedness in freedom and freedom in being related, and this is the ground on which all our life stories, both real and imaginative, are based. (shrink)

Scientometrics has found many applications in describing, explaining and predicting the scientific status of researchers, educational and research groups, universities, organizations and countries in various national and international arenas. By studying the scientific products of different countries, their status in the production of science can be evaluated. Present study was conducted using a scientometrics approach and using co-word analysis and social network analysis (SNA) to investigate relationships in the field of know­ledge organization. In this regard, research indexed in (...) web of science on the topic of “know­ledge organization” has been analyzed using software including VOSviewer, Gephi, Publish or Perish. The findings of the study show that the most frequently used topics and words are know­ledge organization and classification. Also, the most valuable subject areas were identified based on the maps drawn using the closeness and centrality of indexes, taxonomy, ontology and know­ledge organization systems. Co-authorship analysis revealed that the co-authorship network is discrete and has low-density, with a total of 12,491 citations in all articles. Also, the most prolific author is Hjorland, followed by Smiraglia and Dahlberg. using the co-word map of know­ledge organization, policymakers can plan appropriately through the know­ledge of the research and thematic status of know­ledge organization. (shrink)

Purpose of the article One of the approaches how to create a concept of a brand is a form of identifying association network in the mind of the consumer and creating semantic maps composed of all associations that are largely shaped by cultural values of consumers. Methodology/methods In the first phase, the author of the study was detecting the associations connected with the Mexican brand alcoholic beer Corona Extra using focus group with a sample of 15 respondents. In the second (...) phase, she analysed the data found in the context of Slovak cultural values and compared them with the results of the secondary research. Scientific objective The article highlights the importance of understanding cultural values of the target market for the management and brand communication across cultures. The main objective of the survey was to determine how the Slovak respondents perceive selected sample of global brand, to compare the findings of a secondary survey conducted at German and Spanish students, and in the final phase of the research to analyse the data found in the context of the cultural dimensions of respondents. Findings On one hand, the associations formed by consumers about Corona Extra mutually differ depending on the countries surveyed. On the other hand, they correspond to the cultural values of the nation, and thus confirm the strong influence of the cultural aspects of the brand perception. Conclusions The presented article confirms, that there will always be an open space for the extensive research in global marketing and cross-cultural differences in consumer behaviour. Exploring cultural aspects of communication of global brands will benefit not only in terms of increasing the efficiency of advertising campaigns, but also for the mutual knowledge and understanding between cultures. (shrink)

We introduce the notion of complexity, first at an intuitive level and then in relatively more concrete terms, explaining the various characteristic features of complex systems with examples. There exists a vast literature on complexity, and our exposition is intended to be an elementary introduction, meant for a broad audience. -/- Briefly, a complex system is one whose description involves a hierarchy of levels, where each level is made of a large number of components interacting among themselves. The time evolution (...) of such a system is of a complex nature, depending on the interactions among subsystems in the next level below the one under consideration and, at the same time, conditioned by the level above, where the latter sets the context for the evolution. Generally speaking, the interactions among the constituents of the various levels lead to a dynamics characterized by numerous characteristic scales, each level having its own set of scales. What is more, a level commonly exhibits ‘emergent properties’ that cannot be derived from considerations relating to its component systems taken in isolation or to those in a different contextual setting. In the dynamic evolution of some particular level, there occurs a self-organized emergence of a higher level and the process is repeated at still higher levels. -/- The interaction and self-organization of the components of a complex system follow the principle commonly expressed by saying that the ‘whole is different from the sum of the parts’. In the case of systems whose behavior can be expressed mathematically in terms of differential equations this means that the interactions are nonlinear in nature. -/- While all of the above features are not universally exhibited by complex systems, these are nevertheless indicative of a broad commonness relative to which individual systems can be described and analyzed. There exist measures of complexity which, once again, are not of universal applicability, being more heuristic than exact. The present state of knowledge and understanding of complex systems is itself an emerging one. Still, a large number of results on various systems can be related to their complex character, making complexity an immensely fertile concept in the study of natural, biological, and social phenomena. -/- All this puts a very definite limitation on the complete description of a complex system as a whole since such a system can be precisely described only contextually, relative to some particular level, where emergent properties rule out an exact description of more than one levels within a common framework. -/- We discuss the implications of these observations in the context of our conception of the so-called noumenal reality that has a mind-independent existence and is perceived by us in the form of the phenomenal reality. The latter is derived from the former by means of our perceptions and interpretations, and our efforts at sorting out and making sense of the bewildering complexity of reality takes the form of incessant processes of inference that lead to theories. Strictly speaking, theories apply to models that are constructed as idealized versions of parts of reality, within which inferences and abstractions can be carried out meaningfully, enabling us to construct the theories. -/- There exists a correspondence between the phenomenal and the noumenal realities in terms of events and their correlations, where these are experienced as the complex behavior of systems or entities of various descriptions. The infinite diversity of behavior of systems in the phenomenal world are explained within specified contexts by theories. The latter are constructs generated in our ceaseless attempts at interpreting the world, and the question arises as to whether these are reflections of `laws of nature' residing in the noumenal world. This is a fundamental concern of scientific realism, within the fold of which there exists a trend towards the assumption that theories express truths about the noumenal reality. We examine this assumption (referred to as a ‘point of view’ in the present essay) closely and indicate that an alternative point of view is also consistent within the broad framework of scientific realism. This is the view that theories are domain-specific and contextual, and that these are arrived at by independent processes of inference and abstractions in the various domains of experience. Theories in contiguous domains of experience dovetail and interpenetrate with one another, and bear the responsibility of correctly explaining our observations within these domains. -/- With accumulating experience, theories get revised and the network of our theories of the world acquires a complex structure, exhibiting a complex evolution. There exists a tendency within the fold of scientific realism of interpreting this complex evolution in rather simple terms, where one assumes (this, again, is a point of view) that theories tend more and more closely to truths about Nature and, what is more, progress towards an all-embracing ‘ultimate theory’ -- a foundational one in respect of all our inquiries into nature. We examine this point of view closely and outline the alternative view -- one broadly consistent with scientific realism -- that there is no ‘ultimate’ law of nature, that theories do not correspond to truths inherent in reality, and that successive revisions in theory do not lead monotonically to some ultimate truth. Instead, the theories generated in succession are incommensurate with each other, testifying to the fact that a theory gives us a perspective view of some part of reality, arrived at contextually. Instead of resembling a monotonically converging series successive theories are analogous to asymptotic series. -/- Before we summarize all the above considerations, we briefly address the issue of the complexity of the {\it human mind} -- one as pervasive as the complexity of Nature at large. The complexity of the mind is related to the complexity of the underlying neuronal organization in the brain, which operates within a larger biological context, its activities being modulated by other physiological systems, notably the one involving a host of chemical messengers. The mind, with no materiality of its own, is nevertheless emergent from the activity of interacting neuronal assemblies in the brain. As in the case of reality at large, there can be no ultimate theory of the mind, from which one can explain and predict the entire spectrum of human behavior, which is an infinitely rich and diverse one. (shrink)

I argue that scientific and poetic modes of objectivity are perspectival duals: 'views' from and onto basic natural forces, respectively. I ground this analysis in a general account of objectivity, not in terms of either 'universal' or 'inter-subjective' validity, but as receptivity to basic features of reality. Contra traditionalists, bare truth, factual knowledge, and universally valid representation are not inherently valuable. But modern critics who focus primarily on the self-expressive aspect of science are also wrong to claim that our (...) knowledge is or should be ultimately mediated by ourselves. In objective science, we represent nature as a field of phenomena determined by and within explanatorily-basic physical structures that encode the causal impact of elemental physical forces. These causally-basic forces hence ground the possibility of objective scientific theory, even though (I argue) they are systematically excluded from its representational contents. I show how my notions of force and field emerge partly through my effort to naturalize concepts of 'God' and 'Laws' in 17th-century natural philosophy. In science, we use the structure of basic forces' impact to see corresponding objects. We do not see these forces themselves—and this relates to the 'transcendence' of 'God'. I supplement this historical analysis by critiquing standard accounts of objectivity, and by synthesizing elements from neo-Kantian epistemology and current 'structural' realism into a view that I call 'dynamic structuralism'. Finally, I argue that physics systematically relies on passive characterizations of phenomena like inertia and impressed force. Dynamic alternatives that are just as empirically adequate are possible, but they are non-scientific. Poetic objectivity involves a direct presentation of nature as an order of interacting forces. I elaborate first by developing a novel theory of the relation between beauty and sublimity, mediated by a basic category of 'sensory force' (e.g. a 'singing' tone in a beautiful melody). I then describe the interaction between sensory and affective dimensions of aesthetic experience, in relation to an original historical analysis of passion and 'disinterestedness' in Kant, Schiller and Nietzsche. I synthesize these lines of analysis into a critique of the role of 'expression' in art. I also resist 'spectator'-centric aesthetics, in this connection, by developing an account of artistic objectivity in dialogue with Ruskin's critique of the 'pathetic fallacy'. I contrast artistic objectivity with Romantic ideals of self-expression, while elaborating its positive relation to certain currents within Victorian and Modernist aesthetics, including Imagists' stress on 'exteriority'. My project creatively extends Nietzsche's view that philosophical and scientific theories are 'perspectival' expressions of theorists' drives. It is a virtue of Nietzsche's account that he takes the outlet of strong human drives in creative acts of theorizing to be just one among many higher modes of 'will to power' in nature—many of which are totally impersonal. But Nietzsche is still too focused on self-expression or willing one's own power. Objective science involves external forces' 'expression' in and through us, not just 'expressing' our own powers. And Nietzsche's vitalistic 'will to power' must be replaced by a basic ontology that better accommodates inorganic phenomena, like the 'lawful' order of celestial motions. Thus I aim to de-anthropomorphize and 'de-organicize' post-Kantian notions of willful striving and organic development, while preserving for force the primary ontological and evaluative status that theorists from Schiller and Goethe to Schelling and Schlegel to Emerson and Nietzsche attributed to will or to life. (shrink)

Mixing methods is a well-known innovative meth- odologic proposal for research in the second half of the 20th century social sciences. Reading literature about it, I observed the aspect that justifies this paper: Authors of theoretical contributions on mixing methods recognized that this was known to be a practice already in use many centuries ago. Some of them even have re-examined the whole history of the scientific method to search precedents. They are however individual and theoretical precedents. I add (...) in this paper the practical projection of these and other methodological theories on people’s training from Greek classical times. My hypothesis is that liberal arts was the basic syllabus in Western -and westernized- educaion for more than a millennium in such a way that results of their training precisely involved to mixing methods. In return, to understand the liberal arts in the light of mixing methods shows new aspects of their historical interest. I study the theoretical basis of this syllabus from Cicero to Alcuin. More important for future research, I conclude that Alcuin’s thesis about the correspondence between the gifts of the Holy Spiritu and the seven liberal arts can be extended to the Aristotelian dianoethics habits and to Dilthey’s 20th-century sciences of mind. (shrink)

This article deploys Spinoza’s ethic of joy alongside Deleuze and Guattari’s exposition of micropolitics to expose how fascist desires and affects bloom and circulate through digital communications ecosystems that generally promote a diffusion or decentralisation of power. Beyond the steady barrage of alt-right content conscientiously documented by liberal journalists and progressive watchdogs, a more persistent and widespread fascist impulse permeates the very forms of some of our most banal digitally mediated acts and encounters. Rather than a sole looming authoritarian figurehead, (...) the network itself – particularly with the new image paradigms propelled by apps such as Instagram and TikTok – has become the rallying point for the circulation of fascistic affects, burnished through the art and ethos of following: of rules, routines, protocols, accounts. I contend that a joyful passion accompanies much of this everyday experience of keeping up with one’s feeds, engaging the platforms, participating in the spectacles. This is what Sontag, interrogating the appeal of the Third Reich, calls the ‘joy of followers’, a joy in fascist belonging, which is to suggest that fascist movements thrive not only on the circulation of negative affects like hatred and fear, but also on the profusion of pleasure and affiliation. Deleuze’s Spinoza, resolutely anti-fascist, helps us parse this situation as it plays out in the social media sphere. Spinoza offers a bipartite conceptualisation of joy that allows us to diagnose the pleasures particular to fascist belonging and network belonging alike as passive, partial and indirect. Ultimately, what we today share with historical fascisms is a ubiquitous aesthetic that merges art with life and bodies with information, and a corresponding ethos that cultivates conformism, barbarises critical thought and redirects joyful impulses into reactionary social forms. As fascistic power relations spread anew through digital cultures’ newly evolving modes of visuality, hapticity, vibration and expression, one can observe something of what Deleuze calls ‘sad joy’, a sort of joy rooted in conquest and domination. The aim of this article is to root out such sad joys, to appreciate their appeal, and ultimately to reject them in all their various forms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bodily Arts: Rhetoric and Athletics in Ancient GreeceMindy FenskeBodily Arts: Rhetoric and Athletics in Ancient Greece by Debra Hawhee. Austin: University of Texas Press, 2004. Pp. xiv + 226. $40.00, hardcover.In Bodily Arts, Debra Hawhee constructs an often compelling, always interesting case for the conceptual and material linkages between the ancient arts of rhetoric and athletics. In so doing, Hawhee also highlights the integral role of the musical (...) arts to rhetorical and athletic training. Throughout the book, Hawhee weaves together close readings of multiple texts (poetry, oratory, sculpture, painting, architecture) in order to illuminate the intricate “network of overlapping practices” that connect the bodies of rhetoric, athletes, and musicians in Ancient Greece. To this reader, the central strengths of the study are methodological as well as conceptual. In terms of method, Hawhee carefully and with studied finesse integrates close readings of visual, spatial, and verbal texts and practices. In the wrong hands, this type of endeavor can easily appear as the worst kind of pastiche. Not so in this case where Hawhee manages the textual interpretation with deft expertise. Conceptually, the central premise that rhetoric was a practice that was fully embodied and, most importantly, that embodiment was not in a hierarchical relation to reason, rationality, and the mind is provocative. Hawhee argues that the relations of mind-body in Ancient Greek culture were understood as a complex interlocking system that, when trained through physical practices emphasizing rhythm, repetition, and response (to/with an encounter), resulted in the possible transformation of the very nature of the self. [End Page 197]In the process of constructing the argument for the connections between rhetorical and athletic training and performance, Bodily Arts moves through three phases. The Introduction and first three chapters lay the theoretical groundwork for the second phase: the introduction of the concept of phusiopoieses in Chapter 4. Chapters 5–7 then discuss the actual rhetorical and athletic spaces, practices, and bodies of and in phusiopoiesis.The introduction opens with description of a first-century BC bronze statue of an “Antikythera Youth” (3). Hawhee uses the mystery surrounding the identity of the figure (deciphered largely through interpretations of the actions implied by the stature of the statue) to articulate the connections between the body of the rhetor and the body of the athlete as well as to introduce the importance of the body to Greek values of hexis (comportment) and aretē (virtuosity). The Introduction also presents three critical relations that serve both as conceptual departure points as well as hail the multiple audiences of the book: relations of body and mind, learning and performing, and classical studies and rhetorical studies. Hawhee’s perspective is quite straightforwardly that rhetoric is an art that required physical training and physical performance.Chapter 1, “Contesting Virtuosity: Agonism and the Production of Aretē,” connects the values of agon and aretē and argues that the “very logic for linking rhetoric and athletics” lies at the heart of this relation (22). Hawhee argues that agon and aretē are less about ends (victory and virtue) and more centrally concerned with embodied processes. Agon, through Hawhee’s reading of Hesiod’s Work and Days, is articulated as a mode of encounter that produces a particular, and possibly transformative, response. Aretē is the bodily performance of virtuosity. Central to this performance, according to Hawhee’s interpretation of the Olympic ethos through Pindar’s poetry, is the activity of questing. Aretē is demonstrated rather than simply won or attained. Following these definitions of agon and aretē, the chapter moves to illustrating the shared language of rhetoric and athletics in terms of these values. Hawhee argues that this shared vocabulary confirms that sophistic rhetoric was understood and practiced as an embodied and agonistic art “fused and infused” with athletics (43).In Chapter 2, “Sophistic Mētis : An Intelligence of the Body,” Hawhee describes mētis as cunning and somatic becoming that “infuses the arts of rhetoric and athletics with a kind of bodily intelligence... not an explicit set of precepts but rather a tacit style of movement running through most kinds of actions, including thought” (47). Moreover, the movement of mētis [End Page 198] is corporeal. It... (shrink)

Coherence and correspondence are classical contenders as theories of truth. In this paper we examine them instead as interacting factors in the dynamics of belief across epistemic networks. We construct an agent-based model of network contact in which agents are characterized not in terms of single beliefs but in terms of internal belief suites. Individuals update elements of their belief suites on input from other agents in order both to maximize internal belief coherence and to incorporate ‘trickled in’ (...) elements of truth as correspondence. Results, though often intuitive, prove more complex than in simpler models (Hegselmann & Krause 2002, 2006; Grim, Singer, Reade & Fisher 2015). The optimistic finding is that pressures toward internal coherence can exploit and expand on small elements of truth as correspondence is introduced into epistemic networks. Less optimistic results show that pressures for coherence can also work directly against the incorporation of truth, particularly when coherence is established first and new data is introduced later. (shrink)

A common but overlooked form of explanation in psychiatry is what I label ‘empathetic explanation’. Empathetic explanations invoke empathetic variables, which, in addition to providing an explanation of the target phenomenon, also afford an empathetic understanding of it. Focusing on the case of auditory verbal hallucination (AVH), I argue that empathetic explanation fails to provide an adequate account of the phenomenon, perniciously shapes empirical research, and confuses empathetic understanding with scientific understanding. I close by providing a general condition (...) on the legitimate application of empathetic explanation. (shrink)

Deep Neural Networks (DNNs) are becoming increasingly important as scientific tools, as they excel in various scientific applications beyond what was considered possible. Yet from a certain vantage point, they are nothing but parametrized functions fθ(x)\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\varvec{f}_{\varvec{\theta }}(\varvec{x})$$\end{document} of some data vector x\documentclass[12pt]{minimal} \usepackage{amsmath} \usepackage{wasysym} \usepackage{amsfonts} \usepackage{amssymb} \usepackage{amsbsy} \usepackage{mathrsfs} \usepackage{upgreek} \setlength{\oddsidemargin}{-69pt} \begin{document}$$\varvec{x}$$\end{document}, and their ‘learning’ is nothing but an iterative, algorithmic fitting of the parameters to data. Hence, what could (...) be special about them as a scientific tool or model? I will here suggest an integrated perspective that mediates between extremes, by arguing that what makes DNNs in science special is their ability to develop functional concept proxies (FCPs): Substructures that occasionally provide them with abilities that correspond to those facilitated by concepts in human reasoning. Furthermore, I will argue that this introduces a problem that has so far barely been recognized by practitioners and philosophers alike: That DNNs may succeed on some vast and unwieldy data sets because they develop FCPs for features that are not transparent to human researchers. The resulting breach between scientific success and human understanding I call the ‘Actually Smart Hans Problem’. (shrink)

Languages play an essential role in communicating aesthetic, scientific and religious convictions, as well as laws, worldviews and truths. Additionally, metaphors are an essential part of many languages and artistic expressions. In this paper I will first examine the role metaphors play in religion and art. Is there a specific focus on symbolic and metaphoric language in religion and art? Where are the analogies to be found in artistic metaphors and religious ones? How are differences to be described? How (...) do various concepts of aesthetics and theological concepts explain those different kinds of language and how, if at all, do they make use of them? Lastly: what could be added to aesthetics, philosophy and theology by examining carefully the role and importance of language, including nonverbal, sign language and especially metaphorical language? Without the human capacity for language, religions are scarcely imaginable. A widening of traditional exegesis and hermeneutics by taking into account nonverbal semantics is needed. Religion is a cognitive and linguistic phenomenon. By taking this seriously, we set and enable an agenda to discuss religion scientifically, leaving aside for the purpose of a scientific understanding and discourse about the inter-religious and the inner-religious claims of truth and absolutist claims. To sum it up: metaphor is introduced as an important means of language when it comes to religious conceptualization. Next, I will show that art, more than religion, deals with visual metaphor – the latter being an image that suggests a particular association, similarity or analogy between two generally unconnected visual elements. This often, but not always, functions in a roughly comparable fashion to the better-known concept of verbal metaphor. In addition, visual metaphor has developed many original and unique characteristics. These two sections are followed by another one dealing with cultural philosophy of religion and aesthetics, as well as the meaning of metaphors for these disciplines. The next section is on metaphor and metaphorical language in mathematics, natural sciences and art and how they are related, i.e. influence and help each other. I will discuss the critical approach to metaphors in natural science and provide a short introduction to the cultural history of mathematics and art. Mathematicians and artists have long been on the quest to understand the physical world they see before them and the abstract objects they know by thought alone. How have art and mathematics helped each other in representing each other’s concepts? A final section provides a summary and an outlook: theology is contextual as is science – and so is art. All these disciplines partly rely upon metaphor and by the help of metaphor get closer to an intercultural and interdisciplinary understanding. I shall argue that, by dealing more carefully with their metaphorical language and their own metaphors, together they become better equipped to map the world. (shrink)

In this article the author examines the problem of mental experiment extrapolation to musical art. Thus an attempt was made to determine the community of mechanisms of thought process in the scientific cognition and in the artistic creation. Author talks about peculiarities of music mental experiment and emphasizes its basic functions in musical thought. Therefore, the mental experiment in the sphere of aesthetic activity has its own specific character, whichis not identical with the notion of the mental experiment in (...) the scientific sphere and scientific experience. It shows the greatest importance of rethought the category of “mental experiment” in the musical creation sphere. The study of the mental experiment in the sphere of music, as one of the forms of non-verbal treatment, storage, creation and transfer of information, is of great value, meets the self-reflectiveness necessities of life of individual or the whole society. (shrink)

Anders Pettersson presents a comprehensive account of the foundations of literature, grounded in an original analysis of the interactions between author and reader. Drawing on post-Gricean pragmatics and Nicholas Wolterstorff's notion of presentationality, Pettersson develops the idea of the verbal text and conveys an integrated and nuanced understanding of literary experience, its conditions, and the values it affords. In the second part of Verbal Art he systematically examines the cognitive, affective, and formal aspects of the literary work and (...) explores their interrelations.Pettersson demonstrates the implications and applications of the theory through a series of detailed studies of literary works, taking care to show that his theory is compatible with a broad variety of perspectives. Combining an intimate knowledge of modern literary theory and the aesthetics of literature with innovative applications of linguistics and cognitive psychology to the literary work, he provides a thorough treatment of fundamental problems in the area, including the concept of a text or work, the concept of form, and the distinctiveness of the literary use of language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.3 (2002) 223-243 [Access article in PDF] Style, Rhetoric, and Postmodern Culture Bradford Vivian Modern rhetoricians habitually avoid the canon of style. The reasons for this avoidance should be familiar to those versed in the disciplinary lore of rhetoric. Since the fifth and fourth centuries B. C. E., when oratorical virtuosos like Gorgias proclaimed that "Speech is a powerful lord, which by means of the finest (...) and most invisible body effects the divinest works" (41), the suspicion that rhetorical style amounts to irrational verbal excess has dogged those who would argue for the moral integrity of the art. Most recently, twentieth-century rhetoricians, Toulmin (1958) and Perelman (1969, 1979, 1982) in particular, realigned rhetoric with the study of argumentation after its apparent reduction, during the eighteenth and nineteenth centuries, to innocuous matters of form and taste by the elocutionist and belletristic movements. Consequently, the aesthetic capacities of rhetoric have received scant attention from modern rhetoricians, who resign considerations of style largely to supposedly regrettable episodes in the history of the discipline. For better or worse, then, modern rhetorical theory lacks a contemporary rationale and methodology for the study of style. 1Beyond unfortunate equations of rhetoric with grandiloquence, this scarcity in recent rhetorical scholarship corresponds to general humanistic and social scientific prejudices against the topic of style. Robert Hariman posits, "Established academic conceptions of style hardly prepare one to take seriously the aesthetic dimension of political experience" (7). As evidence for this claim, he cites Stuart Ewen's reflections on the "frustration" peculiar to research on style: "It seemed to be a universal category," Ewen writes, "transcending topical boundaries, an accolade applied to people, places, attitudes and things... a subject that was, at best, amorphous" (quoted in Hariman, 7-8). Yet the social ubiquity of style—"[o]n news magazines, sports magazines, music-oriented magazines, magazines about [End Page 223] fashion, architecture and interior design, automobiles, and sex"—indicates that it offers "a key to understanding the contours of contemporary culture" (qtd. in Hariman, 7-8). Hence, the paradox of style as a scholarly topic: that which exhibits its cultural importance makes it seem intellectually vacuous.Hariman's treatise on political style offers the most noteworthy attempt in rhetorical studies to remedy these trends; brief consideration of his insights will suggest further objectives for the study of rhetoric and style. 2 In Hariman's estimation, "style ultimately is a significant dimension of every human experience" because "relations of control and autonomy are negotiated through the artful composition of speech, gesture, ornament, decor, and any other means for modulating perception and shaping response. In a word, our political experience is styled" (3, 2). The distinctive contribution of rhetorical inquiry into political style involves "understanding the dynamics of our social experience or the relationship between rhetorical appeals and political decisions" rather than merely "cataloging discursive forms in the artistic text alone" (Hariman, 8).Accordingly, Hariman acknowledges that one must recognize the substantive social and political influences of style apart from its traditional connotations of individual artistic performance. "In this context," he explains, "although style still highlights aesthetic reactions it no longer enforces artistic autonomy. Style becomes an analytic category for understanding a social reality; in order to understand the social reality of politics, we can consider how political action involves acting according to a particular political style" (9). Thus, for Hariman, rhetorical choices in political style need not amount to a valorization of "artistic autonomy": "each political style draws on universal elements of the human condition and symbolic repertoire but organizes them into a limited, customary set of communicative designs... Each is thoroughly conventional, yet the means for personal improvisation and intelligent, innovate responses to unique problems" (11-12). His treatise therefore appears to dissociate style from its outmoded definitions while recommending the utility of rhetorical principles to the study of political culture.What Hariman calls the "cautious postmodernism" (6) of his project, however, hinders its innovative aspirations. The postmodern portion of his work endorses the study of style according to the aesthetic dimensions of social relations rather than "artistic autonomy" alone; but its... (shrink)

Summary This article focuses on the relevance of Alexander von Humboldt's correspondence in the formation of transatlantic scientific networks at the beginning of the nineteenth century. Apart from connecting Humboldt with scientists and scholars worldwide, his correspondence turned out to be a fundamental tool for assuring the material conditions and the social and scientific connections he needed to carry out his research on the Spanish colonies and to simultaneously diffuse his achievements on the European side (...) of the Atlantic. His contact with Hispanic American scientists and with the local elites enabled him to build a broad social network, gaining access to key material, human and intellectual resources. The letters sent to scientists, scientific institutions and noblemen in Europe, for their part, kept Humboldt's European correspondents informed about his activities in Hispanic America, contributing to the validation of his work before the scientific community and the fulfilment of the duties resulting from the political and institutional support he received both before and during his travels. This stresses the importance of strategic social groups and their cooperation in the framework of exploratory travels as a means to gaining access to resources in the peripheries. It also reveals the scientist's dependence on all those who supported his research: kings, barons, botanical gardens, universities, and academies. (shrink)

ArgumentUp until the French Revolution, European mathematics was an “aristocratic” activity, the intellectual pastime of a small circle of men who were convinced they were collaborating on a universal undertaking free of all space-time constraints, as they believed they were ideally in dialogue with the Greek founders and with mathematicians of all languages and eras. The nineteenth century saw its transformation into a “democratic” but also “patriotic” activity: the dominant tendency, as shown by recent research to analyze this transformation, seems (...) to be the national one, albeit accompanied by numerous analogies from the point of view of the processes of national evolution, possibly staggered in time. Nevertheless, the very homogeneity of the individual national processes leads us to view mathematics in the context of the national-universal tension that the spread of liberal democracy was subjected to over the past two centuries. In order to analyze national-universal tension in mathematics, viewed as an intellectual undertaking and a profession of the new bourgeois society, it is necessary to investigate whether the network of international communication survived the political, social, and cultural upheavals of the French Revolution and the European wars waged in the early nineteenth century, whether national passions have transformed this network, and if so, in what way. Luigi Cremona's international correspondence indicates that relationships among individuals have been restructured by the force of national membership, but that the universal nature of mathematics has actually been boosted by a vision shared by mathematicians from all countries concerning the role of their discipline in democratic and liberal society as the basis of scientific culture and technological innovation, as well as a basic component of public education. (shrink)

The unity of this study rests on the notion that both statistics and emergence are intimately connected with randomness. A statistical law discovers an ideal frequency from which the actual frequency diverges only randomly i.e. the divergence is not contained in a law. Statistics and randomness, thus, mutually define each other. Emergence is related on the one hand, to regularly recurring events and, on the other hand, to the non-ordered events on one level which may be contained in a higher (...) order law. A discussion of the three linked notions naturally turns to the relations between the sciences and to the relations between the events which are their objects; thus the apparent oddness of a considered subtitle—‘Towards an adequate Weltanschauung’ —is eliminated, for an adequate Weltanschauung for the contemporary philosopher will have to include a position on the interconnexions between sciences. Perhaps the philosopher of science will readily grant this but recent thrusts in the philosophy of art, as well as the clear tendencies of the human sciences indicate that an understanding of these questions is increasingly important. It must be clear, for instance, that no serious comprehensive study of artistic meaning after Langer can afford to neglect utterly the nature of the shift from biological regularity to artistic pattern. I have passed from the unity on the side of the object to a corresponding unity on the side of the subject. For how is one to go about the discovery of the relevant interconnexions. So an earlier title refers to the concrete logic of discovery which itself is discovered not merely—perhaps not at all—by the verbal objectification of a theory but by the actual operations of the discoverer who is reflecting critically on himself. This view on the nature of philosophic enquiry, from which belief as present within the scientific community and essential to the proper development of science, is excluded, guides the form of the expression which continually points away from itself to the crucial experiments which the reader must himself perform. Indicative of this elusiveness is a reference to Goedel which is little more than an indication that at this point in the argument it would be valuable to do some work on the theorem. One may be inclined to cavil at this mode of expression; nevertheless it may be suggested that if philosophy does differ significantly from science it is possible that its proper mode of expression will likewise differ from that of science, and that this mode requires more investigation than it has yet received. Perhaps Wittgenstein is not aphorism at all. (shrink)

The Warburg Institute, founded in the 1920s in Hamburg by art and cultural historian Aby Warburg, is a pioneering institution that has greatly shaped the fields of art, myth, religion, medicine, philosophy, and intellectual history. When, in 1933, the institute was moved to London to escape the Nazis, its research and legacy were protected and further developed by a network of researchers dispersed throughout the UK, the US, and Canada. The first interdisciplinary study of the Warburg network as an arena (...) of intellectual transmission, transformation, and exchange, this volume reveals the dynamics, agencies, and actors at play in the development of the Warburg Institute's program and output, with a specific focus on the role of Raymond Klibansky in the institute's major ventures. Among these collective projects of the institute are the famous Saturn and Melancholy, which blends art history with philosophical and cultural history, and the Latin and Arabic Corpus Platonicum Medii Aevi series, which contributed to research on the continuity of Platonic thought. Consulting published and unpublished sources including correspondences, memories, and diaries of affiliated scholars, the essays explore the history of the Warburg Library as a vital cultural institution and the personal and intellectual relationships of the researchers devoted to it. From Hamburg to London to Montreal, Raymond Klibansky and the Warburg Library Network takes readers on a journey into more than forty years of intellectual life at one of the most prestigious cultural research institutes. Contributors include Philippe Despoix, Georges Leroux, Eric Méchoulan, Elisabeth Otto, Elizabeth Sears, Davide Stimilli, Jillian Tomm, Martin Treml, Jean-Philippe Uzel, Regina Weber, Claudia Wedepohl, and Graham Whitaker. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Zen and the Art of Postmodern Philosophy: Two Paths of Liberation from the Representational Mode of ThinkingRobert MagliolaZen and the Art of Postmodern Philosophy: Two Paths of Liberation from the Representational Mode of Thinking. By Carl Olson. New York: State University of New York Press, 2000. 309 pp.Carl Olson's Zen and the Art of Postmodern Philosophy compares two paths of liberation from the representational mode of thinking, namely, (...) Zen Buddhism and postmodern philosophy. Olson is to be commended for encouraging this dialogue, especially since professors of religious studies usually marginalize Gallic postmodern thought. He is also to be appreciated for the enormous effort that must have been required to describe so much material. Olson treats Bataille, Baudrillard, Deleuze, Derrida, Guattari, Foucault, Kristeva, Lacan, Levinas, and Lyotard on the postmodern side; and Dogen, Hakuin, Nishitani, many Chinese Ch'anists, and some Indian Buddhists on the Buddhist side. His method is to arrange the chapters according to topoi such as "Language, Disruption, and Play," "Ways of Thinking," "The Body," and so on, and to treat the pertaining ideas of the individual Buddhist and postmodern authors insofar as applicable.Because Olson's book assembles between two covers the names, selected works, and—at least in a general sense—the "key" ideas of the postmodern movement and their grosso modo similarities/dissimilarities via-à-vis Zen Buddhism, I think it serves an undergraduate readership well enough. The problem is that the book too often performs like a crib sheet in the CliffsNotes manner, reducing so-called "key" ideas to misleading clichés. The book is at its best when it gives an author some length of attention, as it does with Dogen. Rather than reduce my review to a series of sound bites (print bites?) corresponding to Olson's, I shall resort to what hermeneuts call an Auerbachian decoupage, that is, a close analysis of several passages that can be taken as indicative of an author's mode in general. I'll address three interpretations from Olson's book, one of Derrida, one of a Chinese kung-an (koan), and one of Lacan.Within his comparison of Derrida/language/Buddhism, Olson cites (p. 46) a sentence from Derrida's Writing and Difference: "Speech is stolen: since it is stolen [End Page 295] from language it is, thus, stolen from itself, that is, from the thief who has always already lost speech as property and initiative." Olson glosses as follows: "Derrida claims that a speaking subject, representing an irreducible secondary status, is no longer the person who speaks because his/her origin is elusive in an already established field of speech." Because of glosses like this, Derrida is all too often subjected to the ridicule of nonspecialists, who exclaim, "Derrida denies that a person can use speech instrumentally? Aren't his lectures the instruments of his own ideas?" Actually in the section Olson quotes, Derrida is appropriating Lacanian thought and mutating it for Derridean purposes. For Derrida, all life is stretched out in time and diced-out in space in such a way that phenomenological self-identity is an illusion. Physical writing is the best metaphor for this, in that written words (even Chinese ideograms) cannot, in the scientific sense, be perceived in one absolute moment: it "takes time" and it "takes space" to recognize a word, that is, "build" a word-meaning. Derrida calls life a "text" or "writing" because life is like writing: life on the phenomenological level appears holistic (much as a word-meaning appears self-identical, i.e., arising all at once), but life is actually a time/space "drift."1In the sentence Olson quotes, what Derrida means has the following gist: Speech (spoken words) is stolen from language in that it belongs to language as writing and is really writing; and insofar as it is really writing, it is stolen from itself; speech has "always already" been lost to language in that the instrumentality of speech is always undercut by language's nature as writing. Speech is always undercut by an inevitable drift that subverts intentionality and foils our attempts to make speech our absolute "property." This does not mean most of the intention... (shrink)

The paper discusses the role of networks in cognition on two levels: on the level of the organization of ideas, and on the level of interpersonal communication. Any interesting system of ideas forms a network: ideas presented in a linear order (the order forced upon us by verbal expression) will necessarily convey a distorted picture of the underlying patterns of thought. Networks of ideas typically consist of a great number of nodes with just a few links, and (...) a small number of hubs with very many links; that is, they are, to employ Albert-László Barabási's term, "scale-free." Barabási fits into a specific tradition: Hungarians had an early influence on the philosophy of networks, and on the philosophy of communication as developed at Marshall McLuhan's Toronto Circle. In fact, this was the circle in which certain Hungarian and Austrian ideas on mediated collective thinking first came together—a telling testimony to the conditions of disturbed communication and idiosyncratic networking typical of East-Central Europe, past and present. The nodes-and-hubs pattern is characteristic, too, of social networks, in particular of scholarly and scientific networks. The paper analyses the role of "invisible colleges"—informal groups of scientific elites through whom the communication of information both within a field and across fields is channelled. By way of conclusion the notion of a new type of personality, the "network individual," is discussed: the network individual is the person reintegrated, after centuries of relative isolation induced by the printing press, into the collective thinking of society—the individual whose mind is manifestly mediated, once again, by the minds of those forming his/her smaller or larger community. (shrink)

ABSTRACTThis article investigates Rancière’s understanding of the Heideggerean conception of art. It argues that Rancière is mistaken in categorizing Heidegger’s philosophy of art within the ethical regime of images, and further that his work corresponds with the central tenets of, and thus should be categorized within, the aesthetic regime of art. This is because art is understood as art, for Heidegger, when it instigates strife between world—the network of associations which constitute the horizons of a given population’s perceptual, conceptual and (...) motor possibilities—and earth—the necessarily resistant to explicit conscious acts and signification. Insofar as it is constituted by this dual relation, art puts forth a dialogically open space in which it paradoxically reinforces the boundaries of seeing, thinking and doing, yet remains heterogeneous to these modes, thereby preventing art from being reducible to the everyday. This paradoxical role, this articulation and reconfiguration that establishes a unified-character of the arts for Heidegger, performs a function that is best framed within the aesthetic redistribution-based transformative conception of art. This is because in both Heidegger and the aesthetic regime, the dialogically open space granted to art allows for cultural revolutions and paradigm shifts to take place in an indeterminable manner. (shrink)

Abstract The concepts of consciousness and the unconscious have been problematic for cognitive science. This paper is an attempt to determine if artistic and, especially, scientific creativity, taken as a paradigm of cognitive activity, can be explained without recourse to the concept of the unconscious. It opens with a description of creative experience, guided by the works of Arthur Koestler and Abraham Pais and illustrated by anecdotes from the history of science. It then offers a summary and critique of (...) the classical Freudian account of creativity. Next, adopting the perspective of connectionism or parallel distributed processing, the paper proceeds to examine the possibility of creative insight in neural networks. It closes with some observations on the brain/mind problem and with remarks on the necessity and usefulness of the unconscious as an explanatory construct. (shrink)

In these essays, Gadamer justifies the reasons for a philosophical interest in health and medicine, and a corresponding need for health practitioners to enter into a dialogue with philosophy.

A technique for the bilateral activation of neural nets that leads to a functional asymmetry of two simulated ''cerebral hemispheres'' is described. The simulation is designed to perform object recognition, while exhibiting characteristics typical of human consciousness-specifically, the unitary nature of conscious attention, together with a dual awareness corresponding to the ''nucleus'' and ''fringe'' described by William James (1890). Sensory neural nets self-organize on the basis of five sensory features. The system is then taught arbitrary symbolic labels for a small (...) number of similar stimuli. Finally, the trained network is exposed to nonverbal stimuli for object recognition, leading to Gaussian activation of the ''sensory'' maps-with a peak at the location most closely related to the features of the external stimulus. ''Verbal'' maps are activated most strongly at the labeled location that lies closest to the peak on homologous sensory maps. On the verbal maps activation is characterized by both excitatory and inhibitory Gaussians (a Mexican hat), the parameters of which are determined by the relative locations of the verbal labels. Mutual homotopic inhibition across the ''corpus callosum'' then produces functional cerebral asymmetries, i.e., complementary activation of homologous ''association'' and ''frontal'' maps within a common focus of attention-a nucleus in the left hemisphere and a fringe in the right hemisphere. An object is recognized as corresponding to a known label when the total activation of both hemispheres (nucleus plus fringe) is strongest for that label. The functional dualities of the cerebral hemispheres are discussed in light of the nucleus/fringe asymmetry. (shrink)