Non-adjacent or long-distance dependencies (LDDs) are routinely considered to be a distinctive trait of language, which purportedly locates it higher than other sequentially organized signal systems in terms of structural complexity. This paper argues that particular languages display specific resources (e.g. non-interpretive morphological agreement paradigms) that help the brain system responsible for dealing with LDDs to develop the capacity of acquiring and processing expressions with such a human-typical degree of computational complexity. Independently obtained naturalistic data is discussed and put (...) to the service of the idea that the above-mentioned resources exert their developmental role from the outside, but in compliance with other internal resources, ultimately compounding an integrated developmental system. Parallels with other human and nonhuman developmental phenomena are explored, which point to the conclusion that the developmental system of concern can be assimilated to cases currently been conceptualized as ‘cue-response systems’ or ‘developmental hybrids’ within the ecological-developmental paradigm in theoretical biology. Such a conclusion is used to support the idea that both current externalist and internalist concepts fall short of a correct characterization of language. (shrink)

The motivated distance perception theory paradoxically is too parsimonious to account for a variety of findings, including those of the author. The theory poorly defines the features of eliciting situations, which fails to constrain the theory making it nonfalsifiable and allows for post hoc interpretation of the effects. Finally, the theory ignores the complexity of the motivational system and the automaticity of motivations.

A feature that contributes to the charm of much poetry is its obscurity and indirectness. We want to grasp what the poet is saying and yet, it appears, to do so only with difficulty. How is this preference to be explained? (1) It contributes to promoting an ‘aesthetic attitude’. (2) It conforms to certain general features of human psychology, including (a) a general preference for indirectness and indeterminacy and (b) the pleasure of working things out. Distance, in the relevant (...) sense, may be regarded as an important positive quality of works of art; yet (1) this quality may continue to charm even after the difficulties have been overcome, and (2) its presence, in the case of unusual language, may be largely a matter of accident, depending on how long ago the work was written, and so on. (shrink)

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high (...) memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)

Whether we're buying a pair of jeans, ordering a cup of coffee, selecting a long-distance carrier, applying to college, choosing a doctor, or setting up a 401(k), everyday decisions ; both big and small ; have become increasingly complex due to the overwhelming abundance of choice with which we are presented. As Americans, we assume that more choice means better options and greater satisfaction. But beware of excessive choice: choice overload can make you question the decisions you make before (...) you even make them, it can set you up for unrealistically high expectations, and it can make you blame yourself for any and all failures. In the long run, this can lead to decision-making paralysis, anxiety, and perpetual stress. And, in a culture that tells us that there is no excuse for falling short of perfection when your options are limitless, too much choice can lead to clinical depression. In The Paradox of Choice, Barry Schwartz explains at what point choice ; the hallmark of individual freedom and self-determination that we so cherish ; becomes detrimental to our psychological and emotional well-being. In accessible, engaging, and anecdotal prose, Schwartz shows how the dramatic explosion in choice ; from the mundane to the profound challenges of balancing career, family, and individual needs ; has paradoxically become a problem instead of a solution. Schwartz also shows how our obsession with choice encourages us to seek that which makes us feel worse. By synthesizing current research in the social sciences, Schwartz makes the counter intuitive case that eliminating choices can greatly reduce the stress, anxiety, and busyness of our lives. He offers eleven practical steps on how to limit choices to a manageable number, have the discipline to focus on those that are important and ignore the rest, and ultimately derive greater satisfaction from the choices you have to make."--provided by publisher. (shrink)

The most fundamental communication paradox is that of the society communicating with itself. Culture's paradox is that in establishing itself as a culture, society has to create an impossible distance to itself in order to be able to remain within itself. Thus, society finds its bearings by putting itself into perspective, by giving itself a project which naturally takes its starting point in the culture but which always considers what is outside society itself. It is not necessary (...) to be aware of the paradox in order to be able to work with it. Still it is paradoxical that the very society which declares itself ready to work with itself is not capable of doing so. (shrink)

It has been argued that the existence of faster than light particles in the context of special relativity would imply the possibility to influence the past, and that this would lead to paradox. In this paper I argue that such conclusions cannot safely be drawn without consideration of the equations of motion of such particles. I show that such equations must be non-local, that they can be deterministic, and that they can avoid the suggested paradoxes. I also discuss conservation (...) of energymomentum, and how instantaneous action at a distance can avoid similar paradoxes. *I am most grateful for helpful comments made by John Earman, and especially John Norton, who is responsible for anything that makes sense in this paper. I am also grateful for the reception of a Mellon postdoctoral fellowship, which supported me whilst doing the research for this paper. (shrink)

Assuming that future experiments confirm Aspect's discovery of nonlocal interactions between quantum pairs of correlated particles, we analyze the constraints imposed by the EPR reasoning on the said interactions. It is then shown that the nonlocal relativistic quantum potential approach plainly satisfies the Einstein causality criteria as well as the energy-momentum conservation in individual microprocesses. Furthermore, this approach bypasses a new causal paradox for timelike separated EPR measurements deduced by Sutherland in the frame of an approach by means of (...) space-time zigzags with advanced potentials. It is finally demonstrated that this inherent quantum causal direct interaction establishes permanent EPR correlations which are always restricted to spacelike separations and are instantaneous only in the center-of-mass rest frame of the two-particle system. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Distance of Irish Modernism: Memory, Narrative, Representation by John GreaneyXiaojing Chen and Hamid FarahmandianThe Distance of Irish Modernism: Memory, Narrative, Representation, John Greaney; 248 pp. London: Blooms-bury Academic, 2022.In his thought-provoking book The Distance of Irish Modernism, John Greaney embarks on a metacritical journey to unravel the paradoxical nature of Irish modernist fictions. The book delves into the enigma of how these works serve (...) as vessels for national and transnational histories while simultaneously presenting themselves as elusive and peculiar in terms of their temporal and geographical settings. Greaney skillfully examines the complexities of Irish modernism in the twenty-first century through close reading, formal analysis, narratology, philosophical accounts of literature, historicist and materialist approaches, and postcolonial and world literature paradigms. The result is a groundbreaking narrative that challenges existing notions of Irish modernism and offers a fresh perspective on the cultural memories they portray.IThe book's introduction, "The Vicinities of Irish Modernism," sets the stage for an engaging exploration of the subject matter. Greaney adeptly frames the paradox inherent in Irish modernist fictions and introduces the central question of how these texts function as mirrors of historical events and realities. By drawing attention to the proximities and distances between modernist aesthetic practices and the history of modernity in Ireland and beyond, the introduction lays the foundation for the subsequent chapters' analysis.In chapter 1, "Samuel Beckett and the Contexts of Modernism," Greaney evaluates the works of the renowned Irish author. Greaney meticulously examines Beckett's literary legacy, probing the contexts that shaped his artistic expression. Through comprehensive scrutiny, Greaney highlights how Beckett's writings transcend conventional boundaries and invite interpretations that go beyond the historical and geographical confines of Ireland. This chapter masterfully [End Page 251] combines textual analysis with an exploration of Beckett's broader contributions to the modernist movement."Brian, Flann, Myles and the Origins of Irish Modernism," the second chapter, delves into the works of one man—but three pivotal figures—in Irish literature: Brian O'Nolan, who wrote under the pen names Flann O'Brien and Myles na gCopaleen. Greaney uncovers the origins of Irish modernism through the lens of this iconic author, shedding light on his creative methodology and his impact on the Irish literary landscape. By situating his works within the broader modernist context, Greaney reveals the ways in which this writer revolutionized Irish literature and paved the way for the future generations of Irish modernists.Chapter 3, "Elizabeth Bowen's Modernist History," focuses on well-known novelist Elizabeth Bowen. Greaney conducts an in-depth analysis of Bowen's modernist approach to historical events, providing an intriguing investigation of how her texts intertwine with the collective memory of Ireland. Bowen's unique style and intricate narratives come under scrutiny, offering readers a profound understanding of her role in shaping Irish modernism and her contribution to the literary canon.Moving forward, "Kate O'Brien's 'Flawed' Modernism" explores the works of another significant figure in Irish literature. Greaney examines the perceived flaws in O'Brien's modernist approach, challenging conventional criticism and reevaluating her contributions to the Irish modernist tradition. By deftly analyzing O'Brien's works, the chapter seeks to reposition her within the context of Irish modernism, enriching the reader's comprehension of this multifaceted literary movement.The subsequent chapter, "John McGahern and the Limits of Irish Modernism," centers on an author whose writings have earned him a prominent place in Irish literature. Greaney investigates the boundaries and constraints of Irish modernism as portrayed in McGahern's oeuvre. By unraveling the complexities of McGahern's narratives, the chapter sheds light on how his works both align with and challenge the conventions of Irish modernism. This nuanced exploration opens up new perspectives on the extent of Irish modernist expression in the literary realm.The epilogue serves as a captivating conclusion, drawing together the threads of the preceding chapters to present a cohesive reflection on the book's core themes. Greaney reinforces the idea that the examination of Irish modernism necessitates a multifaceted approach, one that embraces various critical lenses and paradigms. The epilogue encourages readers to reevaluate their perceptions of Irish modernism, urging them... (shrink)

In this paper, I identify and provide an explanation for a heretofore unrecognized puzzle in feminist aesthetics and the philosophy of horror. Many horror movie fans have an aversion to rape scenes. This is puzzling because genre fans are not equally bothered by the depiction of other types of violence and cruelty. I argue that we can make sense of this selective aversion by appeal to the notion of ‘distance’, which philosophers of horror use to explain why people are (...) attracted to horror movies in the first place. When we consume horror, we ‘distance’ ourselves from the scary things depicted, which allows other mechanisms to kick in that lead to overall enjoyment. I argue that ‘distance’ often collapses when viewers are confronted with depictions of rape because rape is common in real life and a gendered form of violence that is implicated in social injustice. (shrink)

Drone warfare disrupts the generally understood experience of war, and drone operators’ distance from the battlefield has called into question the authenticity of their experiences as participants in conflict. This article examines the autobiographies of three US military drone operators, analysing how the narration is discursively oriented to particular spatial and ideological perspectives. It argues that the linguistic construction of point of view in each text reflects a dynamic and sometimes paradoxical relationship between drone operators and their distance (...) from the battlefield. Observing the position and shifting of deictic centres, the analysis draws parallels between spatial perspective, ideology, and the social identities of drone operators and victims of drone strikes. It concludes by reflecting on the variety of discursive strategies employed across these texts, and considers this variation itself to be an emerging trend in the discourse of drone warfare. (shrink)

An example of the second situation is the most famous of the paradoxes of Zeno, the Greek philosopher who lived during the Golden Age of Greece on the island of Elea. Zeno proposed the following "thought experiment". Achilles, a young athlete, runs a race with a tortoise. Achilles can run exactly twice as fast as the tortoise, so to make it fair he gives the tortoise a head start of exactly half the distance from the starting line to the (...) finish line. The starting signal is given and the race begins. Achilles runs to the starting position of the tortoise. In the time it takes to do that, the tortoise has advanced half the distance from his starting position and the finish line. Achilles then advances to the new position of the tortoise. During that time the tortoise again advances half the distance to the finish line. And so on ... Every time Achilles moves ahead by a given distance, the tortoise moves ahead by half that distance. Zeno concluded that Achilles can never catch the tortoise, because in every time interval in which Achilles moves to the tortoise's former position, the tortoise always moves ahead by half that distance. (shrink)

How is it that we can be moved by what we know does not exist? In this paper, I examine the so-called 'paradox of fiction', showing that it fatally hinges on cognitive theories of emotion such as Kendall Walton's pretend theory and Peter Lamarque's thought theory. I reject these theories and acknowledge the concept-formative role of genuine emotion generated by fiction. I then argue, contra Jenefer Robinson, that this 'éducation sentimentale' is not achieved through distancing, but rather through the (...) engagement of our emotions. Literature does this, I claim, by its uniquely perspicuous presentations of emotional concepts, and the cognitive pleasure that such 'presentations' prompt in us. (shrink)

Neuroscience has substantially advanced the understanding of how changes in brain biochemistry contribute to mechanisms of tolerance and physical dependence via exposure to addictive drugs. Many scientists and mental health advocates scaffold this emerging knowledge by adding the imprimatur of disease, arguing that conceptualizing addiction as a brain disease will reduce stigma amongst the folk. Promoting a brain disease concept is grounded in beneficent and utilitarian thinking: the language makes room for individuals living with addiction to receive the same level (...) of compassion and access to healthcare services as individuals living with other medical diseases, and promotes enlightened social and legal policies. However such claims may yield unintended consequences by fostering discrimination commonly associated with pathology. Specifically, the language of neuroscience used to describe addiction may reduce attitudes such as blame and responsibility while inadvertently identifying addicted persons as neurobiological others. In this paper, we examine the merits and limitations of adopting the language of neuroscience to describe addiction. We argue that the reframing of addiction in the language of neuroscience provides benefits such as the creation of empowered biosocial communities, but also creates a new set of risks, as descriptive neuroscience concepts are inseparable from historical attitudes and intuitions towards addiction and addicted persons. In particular, placing emphasis on the diseased brain may foster unintended harm by paradoxically increasing social distance towards the vulnerable group the term is intended to benefit. (shrink)

After the WHS inscription of the Historic Centre of Macau in 2005, the relationship between citizens of Macau and their heritage is not distanced. Most of these monuments remain functional for religious and social purposes and are actively engaged in public commercial activities such as the annual Macau Light Festival. Several historic houses have been transformed into either a permanent library or a museum where people can experience various events. With such frequent interaction, these monuments are more than just heritage (...) to locals; they are the venues where people’s daily lives are attached. However, this familiarity will cause a paradox in preservation since losing the distance might mean being unable to deliver the message of protection. It would be difficult to find a balance between preservation and reuse of heritage. This paper will use the Historic Centre of Macau as a case study to discuss the types of adaptive reuse in Macau and propose potential risks of these approaches. (shrink)

What is space? It isn't a question that most of us normally stop to ask. Space is the venue of physics; it's where things exist, where they move and take shape. Yet over the past few decades, physicists have discovered a phenomenon that operates outside the confines of space and time. The phenomenon-the ability of one particle to affect another instantly across the vastness of space-appears to be almost magical. Einstein grappled with this oddity and couldn't quite resolve it, describing (...) it as "spooky action at a distance." But this strange occurrence has direct connections to black holes, particle collisions, and even the workings of gravity. If space isn't what we thought it was, then what is it?In Spooky Action at a Distance, George Musser sets out to answer that question, offering a provocative exploration of nonlocality and a celebration of the scientists who are trying to understand it. Musser guides us on an epic journey of scientific discovery into the lives of experimental physicists observing particles acting in tandem, astronomers discovering galaxies that look statistically identical, and cosmologists hoping to unravel the paradoxes surrounding the big bang. Their conclusions challenge our understanding not only of space and time but of the origins of the universe-and their insights are spurring profound technological innovation and suggesting a new grand unified theory of physics. (shrink)

How can one overcome self-centeredness in order to care for and do justice to significant others as well as foreigners? “Establish the right distance,” is the imperative that Ricœur formulates in order to address the paradox of autonomy and vulnerability, and to reintroduce an ethical conception of justice at the heart of political power. This article shows how understanding justice in light of vulnerability leads us to take into account both the violence coextensive with social relations and political (...) conflicts and the restoration of agency required by such circumstances. Whether it is conceived in light of difference, dissimilarity or interval, the “right distance” that Ricœur calls for is based on a symbolic topography of the common good, which establishes a relationship of interdependence between the subject and others. (shrink)

Günther Anders, Hannah Arendt, Hans Jonas, Emmanuel Levinas, Karl Làwith, Herbert Marcuse, Leo Strauss, Eric Weil... Non sans quelque paradoxe, la philosophie sociale, politique, métaphysique de l'après-guerre a été largement représentée par des penseurs allemands ou formés en Allemagne, qui avaient la particularité d'avoir été des étudiants de Martin Heidegger et d'être en même temps d'origine juive. Ce volume, issu d'un colloque international tenu à Paris en 2012, a voulu les penser ensemble pour la première fois et étudier sur quel (...) fond historique et intellectuel cette double spécificité a été possible. Quelle dette chacun d'entre eux a-t-il pu contracter à l'égard de ce maître commun et quelle distance ont-ils pu prendre (ou ne pas prendre) par rapport à lui après la Seconde Guerre mondiale? Un double questionnement qui permettra d'écrire une nouvelle page de la philosophie allemande, qui pourrait bien être aussi une page de la philosophie juive au XXe siècle. (shrink)

This study examines the contestability of “relevance” as an abstract construction with no fixed meaning when applied, and questions its usage in the research quality debate. It finds that different research agendas and approaches have their own idiosyncratic logic and that any logic has its own criteria for assessing quality which cannot be applied to assess the quality of others. This is illustrated by delineating practitioner-led research from academic-led research and by comparing and contrasting research perspectives as examples. The research (...) quality debate becomes meaningless when it is limited to a singular research agenda or approach as in practice these are invariably combined. Having said this, however, every agenda and approach can be argued to be legitimate as potentially each can find what otherwise cannot be noticed. As a result, this study challenges the conventional unitarist wisdom that conceptualises knowledge as commodity, and suggests instead that heterogeneity, linked to tolerance and relative independence of means and mind, free from the control or influence of others to enable critical distance from context and status quo and facilitate judgement, is the key to those seeking a meaningful research quality debate that acknowledges tolerance of the diversity of knowledge, difference, contestation and struggle. Although such heterogeneity may at first appear to add confusion rather than clarity, without first looking at this heterogeneity it is not possible to develop a dialogue, in the context of the present neo-liberal post-political drift that emphasises consensus, the annulment of dissensus and diverts attention from relationships of power, through which a positive contribution can be made to the research quality debate. (shrink)

This article analyzes self-disconnection as a phenomenological characterization of a destructive disease such as Alzheimer’s. We want to show that, in the most extreme cases of its development, the patient sinks into emotional disengagement because of the destructive plasticity that affects them. This isolation implies an emotional challenge for family members who observe that their loved one becomes disconnected and that they cannot do anything to prevent it. However, family members seek to assist their loved one in their marginalization. The (...) scope of this accompaniment reveals the human experience of consolation as an intersubjective response to this disconnection. The analysis of this disconnection reveals, in a paradoxical way, the human need to put distance in the face of extreme suffering, and at the same time shows its limit. The anthropological analysis of the devices of actio per distans can offer transcendental support to the ethics of tenderness in the face of the experience of illness. (shrink)

In this paper, we connected Zeno’s paradoxes and motions with the viscous friction force \. For the progressive version of the dichotomy paradox, if the body speed is constant, the sequences of positions and instants are infinite, but the series of distances and time variations converge to finite values. However, when the body moves with force \, the series of time variations becomes infinite. In this case, the body crosses infinite points, approximating to a final position forever, as the (...) progressive version of the dichotomy paradox describes. The same procedures with constant speed and motion with force \ result in different spatial sequences and the same series for the regressive version of the dichotomy paradox. Nonetheless, the regressive version of the dichotomy paradox does not describe a body that approximates a final position forever. Finally, for the Achilles paradox, we find the positional and temporal sequences of the man and the tortoise at constant speeds. Analogously to the progressive version of the dichotomy paradox, the positional and temporal sequences are infinite, but the spatial and temporal series converge to finite values. If Achilles and the tortoise are identical points that move with force \, and the turtle’s position in function of time presents a temporal advantage, the man and the animal will cross successive infinite places forever, and the quick hero will never overtake the slow reptile, as the paradox described. We conclude that the progressive version of the dichotomy and Achilles paradoxes can describe motions when the force is \. (shrink)

appropriate redistributive principles is a proper part of what justice entails, these principles must also paradoxically include the possibility of an agent-based response to misfortune that transforms adverse contingencies, such that the initial ‘bad luck’ becomes a positive part of the ‘sufferer's’ identity. This neo-Kantian accommodation within theories of justice signifies a ‘deep’ egalitarian empathic connectedness between persons, based on an equal respect for persons as agents (and not simply as passive victims of misfortune). Moreover, it is an accommodation that (...) (a) can promote equality as ‘an end in itself’ rather than as merely a means to the end of enhancing a teleological conception of ‘well-being’ and ‘human flourishing’ and (b) can underpin a more robust Rawlsian conception of ‘justice as reciprocity’ than is usually allowed. (shrink)

Chez Plotin, le paradoxe est l’énonciation d’une ou plusieurs vérités démontrables mais difficiles à croire. Il permet une mise à distance par rapport au langage, qui ouvre la voie à son examen approfondi et à son dépassement. Proclus reprend et développe ce rôle du paradoxe, en insistant sur sa fonction d’étonnement, censé susciter la motivation de l’interlocuteur ou du lecteur, même quand il ignore son ignorance. Celui-ci est alors poussé à approfondir le raisonnement, voire à susciter lui-même des apories (...) afin de résoudre le problème. Damascius reprend ce dernier point, sans mention du paradoxe, au service d’une enquête philosophique avancée qui le mène au renoncement à la connaissance plutôt qu’à l’enseignement. (shrink)

Grounded in newer French socio-political philosophy, this text deals with the paradoxical situation in which the interpretation of society as well as the relation between the individual and the social remains ambiguous even though autonomy and interrogation of the social emerges: Autonomy remains trapped between transcendence and immanence. Modernity is when society claims to know that it has to produce its own myths. Traditional societies did not relate to their myths as if they were their own products. Nevertheless, as soon (...) as the traditional religious points of reference are disclosed and disappear, the community gives itself new points of reference in order to put the social at a distance. Thus the social creates a distance to itself and a mirror for itself in order to perceive itself and work upon itself. The article explores the questions of why this is so and the difference between heteronomous and autonomous autotranscendence. (shrink)

In this article, I aim to demonstrate that in Die Bedeutung der Tragödien Friedrich Hölderlin (1770-1843) takes distance from the Aristotelian interpretation of Tragedy. In this fragment, the poet suggests this literary genre should be understood on the bases of the notion of paradox and on how this concept relates to the tragic hero. In order to prove this, I first clarify what the German poet means when he proposes paradox as the easiest way to understand Tragedy. (...) Second, I highlight the correlations between the assertions of this text and Hölderlin’s former stances about Tragedy in the Grund zum Empedokles, the Anmerkungen zum Oedipus and the Anmerkungen zur Antigonä. Finally, I argue that the approach regarding paradox is evidence of the distance Hölderlin took from the Aristotelian definition of Tragedy as mimesis of an action. (shrink)

Nietzsche’s texts contain a puzzle about the role of vulnerability in the creation of intimacy and its function on behalf of human flourishing. I describe the interpretive puzzle and its prima facie paradoxical aspects. On the one hand, there are texts in which Nietzsche expresses a longing for intimacy and other texts where he furnishes details about the possibility of intimacy between equals. On the other hand, Nietzsche is severely critical of certain types of intimacy and advocates for a pathos (...) of distance in human relationships. I claim that Nietzschean intimacy is not an inherently paradoxical concept. A proper understanding of Nietzsche’s anti-humanism provides the resources to resolve the paradox and to use the solution of the puzzle to illuminate Nietzsche’s insights about human psychology. (shrink)

According to an intuitive semantics for 'I,' 'here' and 'now,' 'I am not here now' should always be false when uttered. But occurrences of 'I am not here now' on an answering machine seem to be true (when the speaker is not home). A number of possible solutions are considered and rejected, and a novel solution offered introducing the notion of a 'deferred utterance,' which allows for non-mysterious sort of action at a distance.

In modern times, Christian theology has increasingly become a ‘mission field’ itself because its ‘intellectual space’ has largely marginalized the missions mandate of the local church. On this conceptual mapping, the present work engages three intellectual responses of the African theological discourse to the modern missions’ crisis of the African church. Reading the writings of Bediako, Katongole, and de Gruchy as missions’ texts, the work seeks to show the paradox of missions in Africa particularly in its eternal preoccupation with (...) issues arising from missions, and yet its inability to provide practical and helpful insights for the missionaries on the African missions fields. Importantly, the article notes the dialectical distance between the ‘intellectual space’ of these Christian theologies and the actual missions practices of the African church. (shrink)

Context: The infinite has long been an area of philosophical and mathematical investigation. There are many puzzles and paradoxes that involve the infinite. Problem: The goal of this paper is to answer the question: Which objects are the infinite numbers (when order is taken into account)? Though not currently considered a problem, I believe that it is of primary importance to identify properly the infinite numbers. Method: The main method that I employ is conceptual analysis. In particular, I argue that (...) the infinite numbers should be as much like the finite numbers as possible. Results: Using finite numbers as our guide to the infinite numbers, it follows that infinite numbers are of the structure w + (w* + w) a + w*. This same structure also arises when a large finite number is under investigation. Implications: A first implication of the paper is that infinite numbers may be large finite numbers that have not been investigated fully. A second implication is that there is no number of finite numbers. Third, a number of paradoxes of the infinite are resolved. One change that should occur as a result of these findings is that “infinitely many” should refer to structures of the form w + (w* + w) a + w*; in contrast, there are “indefinitely many” natural numbers. Constructivist content: The constructivist perspective of the paper is a form of strict finitism. (shrink)

In light of the theme and concerns of the present collection of essays, we may ask whether ‘distance in general’, and ‘critical distance in particular’, has truly disappeared with postmodernity. Proposing an immediate and interruptive political engagement with local issues, Jacques Rancière’s articulation of political mobilisation does seem to confirm this claim. Upon further inspection, however, his emancipatory politics repeat the same mistake of valuing an abstract universal at the expense of a concrete particular, however paradoxical this may (...) seem at first sight. The present article develops this thesis in three moments. On the first hand, it highlights Rancière’s notion of conflict as being institutive of politics. Secondly, it connects this ‘sensible’, and Rancière’s understanding of politics as being aesthetic, to Kant’s ‘Transcendental Aesthetics’. The French author sees in the leading section of the first Critique the grounding possibility of freeing up time and space within the social realm; the representation of a common political surface that can be reshaped; political equality; emancipation. The last section shows how this recourse to the transcendental subject in Rancière’s politics follows and embraces a traditional position in the history of philosophy whereby identity is denigrated at the profit of a disembodied universalism. (shrink)

Augustus De Morgan was a British mathematician and logician. He formulated De Morgan's laws and introduced the term mathematical induction, making its idea rigorousFrom the introduction:"If I had before me a fly and an elephant, having never seen more than one such magnitude of either kind; and if the fly were to endeavor to persuade me that he was larger than the elephant, I might by possibility be placed in a difficulty. The apparently little creature might use such arguments about (...) the effect of distance, and might appeal to such laws of sight and hearing as I, if unlearned in those things, might be unable wholly to reject. But if there were a thousand flies, all buzzing, to appearance, about the great creature; and, to a fly, declaring, each one for himself, that he was bigger than the quadruped; and all giving different and frequently contradictory reasons; and each one despising and opposing the reasons of the others-I should feel quite at my ease. I should certainly say, My little friends, the case of each one of you is destroyed by the rest. I intend to show flies in the swarm, with a few larger animals, for reasons to be given.In every age of the world there has been an established system, which has been opposed from time to time by isolated and dissentient reformers. The established system has sometimes fallen, slowly and gradually: it has either been upset by the rising influence of some one man, or it has been sapped by gradual change of opinion in the many.I have insisted on the isolated character of the dissentients, as an element of the a priori probabilities of the case. Show me a schism, especially a growing schism, and it is another thing. The homeopathists, for instance, shall be, if any one so think, as wrong as St. John Long; but an organized opposition, supported by the efforts of many acting in concert, appealing to common arguments and experience, with perpetual succession and a common seal, as the Queen says in the charter, is, be the merit of the schism what it may, a thing wholly different from the case of the isolated opponent in the mode of opposition to it which reason points out.During the last two centuries and a half, physical knowledge has been gradually made to rest upon a basis which it had not before. It has become mathematical. The question now is, not whether this or that hypothesis is better or worse to the pure thought, but whether it accords with observed phenomena in those consequences which can be shown necessarily to follow from it, if it be true. Even in those sciences which are not yet under the dominion of mathematics, and perhaps never will be, a working copy of the mathematical process has been made. This is not known to the followers of those sciences who are not themselves mathematicians and who very often exalt their horns against the mathematics in consequence. They might as well be squaring the circle, for any sense they show in this particular.". (shrink)

We have a responsibility to obey COVID-19 rules, in order to minimize risk. Yet it is still seen as rude to challenge people who do not respect those rules, when in fact the opposite is true; it is rude to increase risk to others. In this paper I analyse the relationship between risk, responsibility, and rudeness by analysing the evolution of the main governmental slogans and rules and explore the complex relationship between simplicity, safety, and perceived fairness of these rules, (...) and how these features in turn influence the extent to which we act responsibly. I begin by exploring the relationship between rudeness and risk in our interactions about coronavirus, before going on to analyse the importance of clear rules in minimizing tension between us, illustrating the argument with various slogans including “stay at home,” “stay alert,” and the now infamous “rule of six,” which is actually at least three different rules. Ultimately, we are faced with a paradox: people annoyed about complex/unfair rules are less likely to obey them, even if that means rules will apply for longer and even though it was noncompliance with earlier simpler rules that means new rules are necessary. And if rules make less or no sense it is harder to try to get people to follow them in your own capacity as a citizen; it is hard to police rules that are seen as arbitrary or unfair. (shrink)

In its first part the article examines visions of the family during 1968 and the succeeding years. It concentrates in particular on alternative visions of the family, both at a theoretical level (as with David Cooper's Death of the Family), and at the level of social history, with the rise and fall of the commune movement. It does so with reference to a methodology which concentrates on relationships, principally those between the individual and the family, between family and between the (...) family and the state. In the second part it surveys the widespread changes that have beset family relations and family life in the advanced capitalist societies since 1968: the lowering of fertility rates, the gradual decline of marriage, the significant changes in the position of women in the family, the increase in individualisation, as manifested in the growth of single-member households. The article then seeks to explore the relationship, if any, between the movement of 1968 and these transformations in the family. It examines both conservative and progressive interpretations, and suggests that paradoxically the movement left few sediments in the relationship between family and civil society but rather more in that between the state and the family. (shrink)

In this paper I will examine what Blaise Pascal means by “infinite distance”, both in his works on projective geometry and in the apologetics of the Pensées’s. I suggest that there is a difference of meaning in these two uses of “infinite distance”, and that the Pensées’s use of it also bears relations to the mathematical concept of heterogeneity. I also consider the relation between the finite and the infinite and the acceptance of paradoxical relations by Pascal.

The many worlds interpretation of quantum mechanics (MWI) states that the world we live in is just one among many parallel worlds. It is widely believed that because of this commitment to parallel worlds, the MWI violates common sense. Some go so far as to reject the MWI on this basis. This is despite its myriad of advantages to physics (e.g. consistency with relativity theory, mathematical simplicity, realism, determinism, etc.). Here, we make the case that common sense in fact favors (...) the MWI. We argue that causal explanations are commonsensical only when they are local causal explanations. We present several quantum mechanical experiments that seem to exhibit nonlocal “action at a distance”. Under the assumption that only one world exists, these experiments seem immune to local causal explanation. However, we show that the MWI, by taking all worlds together, can provide local causal explanations of the experiments. The MWI therefore restores common sense to physical explanation. (shrink)

What motivates the voluntary suffering of training for a long-distance run – or any other difficult athletic skill? Long-term pleasure cannot adequately explain this seemingly masochistic activity. On the contrary, I argue that pleasure, or “reinforcement,” is not the only ultimate motivator of behavior. Each of the emotion systems defines its own intrinsic values, including an innate “play” system and an innate “exploratory drive” that is included in what neuropsychologist Jaak Panksepp calls the “SEEKING system” of the emotional brain. (...) Panksepp’s description of the conscious dimension of SEEKING is remarkably similar to Otto Rank’s descriptions of his “love of life” dimension of motivation, which actually conflicts with the pleasure principle. The desire for pleasure is a desire to reduce consummatory drives, which means reducing the energy level of our bodily systems. Complete reduction would be death. If there were no competing motivation in the other direction, there would be nothing to keep us alive. The SEEKING system is what does that. It motivates a higher energy level. In the case of athletic training, we do not have to “force ourselves” to this higher energy level. The SEEKING system is an innate natural drive. If we were to deliberately try to just sit on a couch indefinitely, at some point we would fail. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving (...) seconds too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)

This paper presents two possibility results and one impossibility result about a situation with three voters under a pairwise majoritarian aggregation function voting on a countably infi nite number of candidates. First, from individual orders with no maximal or minimal element, it is possible to generate an aggregate order with a maximal or minimal element. Second, from dense individual orders, it is possible to generate a discrete aggregate order. Finally, I show that, from discrete orders with a particular property, namely (...) the finite-distance property, it is not possible to generate a dense aggregate order. (shrink)

The Relational Blockworld (RBW) interpretation of non-relativistic quantum mechanics (NRQM) is introduced. Accordingly, the spacetime of NRQM is a relational, non-separable blockworld whereby spatial distance is only defined between interacting trans-temporal objects. RBW is shown to provide a novel statistical interpretation of the wavefunction that deflates the measurement problem, as well as a geometric account of quantum entanglement and non-separability that satisfies locality per special relativity and is free of interpretative mystery. We present RBW’s acausal and adynamical resolution of (...) the so-called “quantum liar paradox,” an experimental set-up alleged to be problematic for a spacetime conception of reality, and conclude by speculating on RBW’s implications for quantum gravity. (shrink)

The brief life of the Accademia del Cimento (1657–1667), the first known society with a purely experimental programme,1 is entangled with the most surprising advancements in the history of scientific instruments of that century, from the telescope to the microscope, the thermometer to the barometer, the hygrometer to the pendulum as a time-regulator, and more. The making of instruments at the Florentine court shows the interaction of princely, scholarly and artisanal actors. This paper explores this collaboration and shows how the (...) supposed “invisibility’ of artisans depended on their proximity to the academicians and princes, who mainly communicated verbally with them, directly or through middlemen. The visibility of artisans increases proportionally to their physical distance from the Court. In this essay I unveil the identity of the artisans of the Cimento and, finally, attempt to attribute five instruments (some lost and others still extant) to specific makers, shedding light also on relations between the artisan and his patron. (shrink)

The violation of Bell inequalities by quantum physical experiments disproves all relativistic micro causal, classically real models, short Local Realistic Models (LRM). Non-locality, the infamous “spooky interaction at a distance” (A. Einstein), is already sufficiently ‘unreal’ to motivate modifying the “realistic” in “local realistic”. This has led to many worlds and finally many minds interpretations. We introduce a simple many world model that resolves the Einstein Podolsky Rosen paradox. The model starts out as a classical LRM, thus clarifying (...) that the many worlds concept alone does not imply quantum physics. Some of the desired ‘non-locality’, e.g. anti-correlation at equal measurement angles, is already present, but Bell’s inequality can of course not be violated. A single and natural step turns this LRM into a quantum model predicting the correct probabilities. Intriguingly, the crucial step does obviously not modify locality but instead reality: What before could have still been a direct realism turns into modal realism. This supports the trend away from the focus on non-locality in quantum mechanics towards a mature structural realism that preserves micro causality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving (...) seconds too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)

As the ongoing literature on the paradoxes of the Lottery and the Preface reminds us, the nature of the relation between probability and rational acceptability remains far from settled. This article provides a novel perspective on the matter by exploiting a recently noted structural parallel with the problem of judgment aggregation. After offering a number of general desiderata on the relation between finite probability models and sets of accepted sentences in a Boolean sentential language, it is noted that a number (...) of these constraints will be satisfied if and only if acceptable sentences are true under all valuations in a distinguished non-empty set W. Drawing inspiration from distance-based aggregation procedures, various scoring rule based membership conditions for W are discussed and a possible point of contact with ranking theory is considered. The paper closes with various suggestions for further research. (shrink)

Berkeley and Helmholtz proposed different indirect mechanisms for size perception: Berkeley, that size was conditioned to various cues, independently of perceived distance; Helmholtz, that it was unconsciously calculated from angular size and perceived distance. The geometrical approach cannot explain size-distance paradoxes (e.g., moon illusion). The dorsal/ventral solution is dubious for close displays and untestable for far displays.

Nietzsche talks about shame [scham*, schmach*, schand*] in all of his published and authorized works, from The Birth of Tragedy to Ecce Homo. He refers to shame in over one hundred passages – at least five times as often as he refers to resentment/ressentiment. Yet the scholarly literature on Nietzsche and shame includes just a handful of publications, while the literature on Nietzsche and resentment includes over a thousand. Arguably, this disproportionate engagement has been driven by the fact that English (...) translations of Nietzsche’s writings systematically italicize and transliterate ‘ressentiment’ rather than treating it as the normal word it is. In any case, this chapter aims to fill the gap in the secondary literature by using digital humanities methods to systematically investigate the functions of shame in Nietzsche’s writings. I argue that Nietzsche is ambivalent about shame, depending on the function that it serves. There are four main functions. First, in a society of near-equals, it regulates interactions and incentives in ways that preserve game-theoretic equilibria. Second and relatedly, Nietzsche associates the capacity to experience nuanced and appropriate feelings of shame – and to anticipate them in others – with the pathos of distance, a virtue that he associates with nobility. Third, when shame is directed towards fixed aspects of human nature, it transforms those aspects into vices; by contrast, when it is directed towards malleable aspects of human nature, it may foster self-improvement and virtue. Nietzsche frequently laments the way that shame targets immutable aspects of ourselves. Finally and relatedly, Nietzsche casts counter-shame on those who would direct first-order shame on fixed aspects of human nature, as well as a paradoxical form of uplifting shame on their victims. If this is right, then Nietzsche does not offer a univocal verdict on shame. Instead, like many other emotions and emotional capacities, shame is inescapable, complex, and function-relative. (shrink)

Various data from communication that does not occur face-to-face are taken to be problematic for Kaplan’s account of indexical expressions, as is the case with the so-called answering machine paradox. One fix, developed by Sidelle (1991) and Briciu (2018), is the remote utterance view: recording artifacts are means by which speakers perform utterances at a distance, just as by means of other artifacts agents performs other types of actions at a distance. This view has faced an important (...) objection, namely that remote utterances lead to Moorean paradoxes. In this paper, I defend the remote utterance view against this objection and further develop the view. I argue that worries about Moorean paradoxes can easily be dispelled if we take into consideration the artifactual nature of recording devices, their materiality, and the communicative affordances they bring about. In the first section, we’ll present the answering machine paradox and give a brief overview of the remote utterance view. The second section presents the objection against the view, while the third gives a detailed rejoinder to the objection. Answering this objection is important also because it allows us to explore some underdeveloped aspects of the remote utterance view. First, I will discuss how the theorist calibrates her model with the data she seeks to explain and predict. Secondly, I will argue that speech acts performed via recording devices have different felicity conditions than their oral counterparts. I conclude with a short discussion of some semantic and pragmatic consequences of the view. (shrink)

The goal of this paper is a comprehensive analysis of basic reasoning patterns that are characteristic of vague predicates. The analysis leads to rigorous reconstructions of the phenomena within formal systems. Two basic features are dealt with. One is tolerance: the insensitivity of predicates to small changes in the objects of predication (a one-increment of a walking distance is a walking distance). The other is the existence of borderline cases. The paper shows why these should be treated as (...) different, though related phenomena. Tolerance is formally reconstructed within a proposed framework of contextual logic, leading to a solution of the Sorites paradox. Borderline-vagueness is reconstructed using certain modality operators; the set-up provides an analysis of higher order vagueness and a derivation of scales of degrees for the property in question. (shrink)