Joint attention has been extensively studied in the developmental literature because of overwhelming evidence that the ability to socially coordinate visual attention to an object is essential to healthy developmental outcomes, including language learning. The goal of this study was to understand the complex system of sensory-motor behaviors that may underlie the establishment of joint attention between parents and toddlers. In an experimental task, parents and toddlers played together with multiple toys. We objectively measured joint attention—and the sensory-motor behaviors (...) that underlie it—using a dual head-mounted eye-tracking system and frame-by-frame coding of manual actions. By tracking the momentary visual fixations and hand actions of each participant, we precisely determined just how often they fixated on the same object at the same time, the visual behaviors that preceded joint attention and manual behaviors that preceded and co-occurred with joint attention. We found that multiple sequential sensory-motor patterns lead to joint attention. In addition, there are developmental changes in this multi-pathway system evidenced as variations in strength among multiple routes. We propose that coordinated visual attention between parents and toddlers is primarily a sensory-motor behavior. Skill in achieving coordinated visual attention in social settings—like skills in other sensory-motor domains—emerges from multiple pathways to the same functional end. (shrink)

Background and objectives: Developmental coordination disorder is a neurodevelopmental motor disorder occurring in 5-6% of school-aged children. It is suggested that children with DCD show deficits in motor learning. Transcranial direct current stimulation enhances motor learning in adults and children but is unstudied in DCD. We aimed to investigate if tDCS, paired with motor skill training, facilitates motor learning in a pediatric sample with DCD.Methods: Twenty-eight children with diagnosed DCD were randomized and placed into a treatment (...) or sham group. Anodal tDCS was applied in conjunction with fine manual training over 5 consecutive days. Children's motor functioning was assessed with the Purdue Pegboard Test and Jebsen-Taylor Hand Function Test at baseline, post-intervention and 6 weeks following intervention. Group differences in rates of motor learning and skill transfer/retention were examined using linear mixed modeling and repeated measures ANOVAs, respectively.Results: There were no serious adverse events or drop-outs and procedures were well-tolerated. Independent of group, all participants demonstrated improved motor scores over the 5 training days [F, p < 0.001, 95% CI ], with no skill decay observed at retention. There was no interaction between intervention group and day [F, p = 0.086, 95% CI ].Conclusion: Children with DCD demonstrate motor learning with long-term retention of acquired skill. Motor cortex tDCS did not enhance motor learning as seen in other populations. Before conclusions of tDCS efficacy can be drawn, additional carefully designed trials with reproducible results are required.Clinical Trial Registration:ClinicalTrials.gov: NCT03453983. (shrink)

In various professional groups, experts send rookies on absurd tasks as a joke. The fool’s errand appears in factories and hospitals, in elite schools and scout camps, among soldiers, sailors, and airmen. Why are newcomers deceived and humiliated, and why are pranks relatively similar and remarkably persistent over time? I propose that the cultural success and the recurrent features of the fool’s errand are based on evolved cognitive mechanisms activated by apprenticeship as social learning and group induction. Epistemic vigilance (...) explains how novices are reliably deceived by experts using opaque statements erroneously perceived as pedagogical. Furthermore, coalitional psychology explains why insiders use the prank as strategic signalling of hierarchies based on epistemic asymmetry. The intersection of cognitive mechanisms and patterns of professional recruitment maintains a tradition of ritualised pranking in which insiders coordinate to humiliate newcomers to assert epistemic and coalitional dominance. (shrink)

Environmental landscaping is known to build, plan, and manage landscapes that consider the ecology of a site and produce gardens that benefit both people and the rest of the ecosystem. Landscaping and the environment are combined in landscape design planning to provide holistic answers to complex issues. Seeding native species and eradicating alien species are just a few ways humans influence the region’s ecosystem. Landscape architecture is the design of landscapes, urban areas, or gardens and their modification. It comprises the (...) construction of urban and rural landscapes via coordinating the creation and management of open spaces and economics, finding a job, and working within a confined project budget. There was a lot of discussion about global warming and water shortages. There is a lot of hope to be found even in the face of seemingly insurmountable obstacles. AI is becoming more significant in many urban landscape planning and design elements with the advent of web 4.0 and Human-Centred computing. It created a virtual reality-based landscape to create deep neural networks (DNNs) to make deep learning (DL) more user-friendly and efficient. Users may only manipulate physical items in this environment to manually construct neural networks. These setups are automatically converted into a model, and the real-time testing set is reported and aware of the DNN models that users are producing. This research presents a novel strategy for combining DL-DNN with landscape architecture, providing a long-term solution to the problem of environmental pollution. Carbon dioxide levels are constantly checked when green plants are in and around the house. Plants, on either hand, remove toxins from the air, making it easier to maintain a healthy environment. Human-centered Artificial Intelligence-based web 4.0 may be used to assess and evaluate the data model. The study findings can be sent back into the design process for further modification and optimization. (shrink)

In cognitive science, creative ideas are defined as original and feasible solutions in response to problems. A common proposal is that creative ideas are generated across dedicated cognitive pathways. Only after creative ideas have emerged, they can be enacted to solve the problem. We present an alternative viewpoint, based upon the dynamic systems approach to perception and action, that creative solutions emerge in the act rather than before. Creative actions, thus, are as much a product of individual constraints as they (...) are of the task and environment constraints. Accordingly, we understand creative motor actions as functional movement patterns that are new to the individual and/or group and adapted to satisfy the constraints on the motor problem at hand. We argue that creative motor actions are promoted by practice interventions that promote exploration by manipulating constraints. Exploration enhances variability of functional movement patterns in terms of either coordination or control solutions. At both levels, creative motor actions can emerge from finding new and degenerate adaptive motor solutions. Generally speaking, we anticipate that in most cases, when exposed to variation in constraints, people are not looking for creative motor actions, but discover them while doing an effort to satisfy constraints. For future research, this paper achieves two important aspects: it delineates how adaptive (movement) variability is at the heart of (motor) creativity, and it sets out methodologies toward stimulating adaptive variability. (shrink)

Social norms are important determinants of behavior. Hence, we need reliable methods to identify them in order to increase the predictive and explanatory power of models that aim to predict human behavior. In this paper, I will focus on a norm measurement method proposed by Krupka and Weber. In particular, I will discuss whether social norms elicited using this method are malleable, and whether these norms are good predictors of behavior.

Although philosophy courses are not known for hands-on learning activities in which students use, manipulate, or touch objects with their hands, there are simple hands-on activities that teachers can use to liven up their classrooms and foster active learning. In this paper I describe four activities I developed to attempt to improve student learning: GoldiLocke and the Three Buckets, The Argument From Disagreement Box, The Trolley Problem Reenactment, and The Lego Man of Theseus. I argue that such (...) activities are effective for two main reasons: they are fun; and they involve embodied learning. Finally, I offer some advice for developing hands-on learning activities for philosophy courses and share some of the ideas generated by session participants when I presented this material at the American Association of Philosophy Teachers Twentieth Biennial Workshop/Conference. (shrink)

Within the last ten to fifteen years, models emerged for describing and developing undergraduate research and inquiry. This article discusses four examples of modelling didactical issues around undergraduate research and inquiry. The aim of the first part of this article is to scrutinize the epistemological and the didactical purpose of these models. As essential dimensions of undergraduate research and inquiry are neglected, two new models are developed. The first puts the coordination of theory and evidence in the centre and (...) determines three different horizons of significance in the field of science. In relation to these horizons, the second model highlights the broader societal context of scientific practices. The role of research and science in society is recognized here on the one hand as an affirmative process of institutionalization of approved knowledge, and on the other, as practices of criticizing and breaking away from established forms of knowing, testing, evaluating, and approving. Concomitantly, the education of students through and within scientific practices of research and inquiry is interpreted against the backdrop of two opposite trajectories influencing students’ ambitions to engage with problems of science. Didactics of higher education therefore need to distinguish between long-term and short-term goals. It is argued that the latter concretizes the former. This understanding of teaching is corroborated against the backdrop of the concept of learning as ‘enculturation’ in science. The argumentation refers back to insights by Lev S. Vygotsky, Ludwik Fleck and Michael Polanyi. (shrink)

Intermediate constructs are required as bridges between complex behaviors and realistic models of neural circuitry. For cognitive scientists in general, schemas are the appropriate functional units; brain theorists can work with neural layers as units intermediate between structures subserving schemas and small neural circuits.After an account of different levels of analysis, we describe visuomotor coordination in terms of perceptual schemas and motor schemas. The interest of schemas to cognitive science in general is illustrated with the example of perceptual schemas (...) in high-level vision and motor schemas in the control of dextrous hands.Rana computatrix, the computational frog, is introduced to show how one constructs an evolving set of model families to mediate flexible cooperation between theory and experiment. Rana computatrix may be able to do for the study of the organizational principles of neural circuitry what Aplysia has done for the study of subcellular mechanisms of learning. Approach, avoidance, and detour behavior in frogs and toads are analyzed in terms of interacting schemas. Facilitation and prey recognition are implemented as tectal-pretectal interactions, with the tectum modeled by an array of tectal columns. We show how layered neural computation enters into models of stereopsis and how depth schemas may involve the interaction of accommodation and binocular cues in anurans. (shrink)

A shared narrative in the literature on the evolution of cooperation maintains that social _learning_ evolves early to allow for the transmission of cumulative culture. Social _norms_, whilst present at the outset, only rise to prominence later on, mainly to stabilise cooperation against the threat of defection. In contrast, I argue that once we consider insights from social epistemology, an expansion of this narrative presents itself: An interesting kind of social norm — an epistemic coordination norm — was operative (...) in early and important instances of specialised social learning. I show how there’s a need for such norms in two key social learning strategies and explain how this need is constituted. In assessor-teaching (e.g. Castro et al., 2019b, 2021), epistemic coordination norms allow agents to coordinate around the _content_ of social learning, i.e., what is to be known and how this is to be done. These norms also allow agents to coordinate around the form of cultural learning in what’s sometimes called strategic social learning (Laland, 2004; Hoppitt & Laland, 2013; Heyes, 2018, Chap. 5) and elsewhere. Broadly speaking, this concerns how cultural learning is organised within the social group. The upshot is that the evolution of social learning and social norms are intertwined in important and underappreciated ways from early on. The above matters as it informs our views about the evolution of social norms more generally. Truly _social_ norms emerged to coordinate a plurality of complex behaviours and interactions, amongst them specialised social learning. I substantiate this view by contrasting it with Jonathan Birch’s views on the evolution of norms. What results is a general but cohesive narrative on the early evolution of social norms. (shrink)

In the past years motor imagery turned out to be also an innovative and effective tool for motor learning and improvement of sports performance. Whereas many studies investigating sports MI focusing on upper or lower limbs involvement, knowledge about involved neural structures during whole-body movements is still limited. In the present study we investigated brain activity of climbers during a kinesthetic motor imagery climbing task with different difficulties by means of functional near infrared spectroscopy. Twenty healthy participants were split (...) into two groups according to their climbing skill level. The aim of the current study is investigating neural correlates of a whole-body sports MI task with an additional focus on skill level dependency. Climbing experts and non-experts imagined bouldering an “easy” and “difficult” route from a first-person perspective while hemodynamic responses were recorded simultaneously. We found significant differences between the two climbing routes, easy and difficult within participants as well as between the two groups of different climbing skill levels. Overall beginners showed increased hemodynamic responses compared to experts in all defined regions of interest supporting the claim of the neural efficiency hypothesis. Even though climbing is a complex, coordinated movement of upper and lower limbs we found a stronger activation focus of the upper limbs, especially of the dominant hand-area, while the foot area seems to be deactivated or inhibited simultaneously. Summarizing, these findings provide novel insights into brain activation during the imagery of a whole-body movement and its relation to climbing expertise. (shrink)

I have two objectives in this article. The first is methodological: I elaborate a minimal phenomenological method and attempt to show its importance in studies of infant behavior. The second objective is substantive: Applying the minimal phenomenological approach, combined with Meltzoff’s “like-me” developmental framework, I propose the hypothesis that infants learn the pointing gesture at least in part through imitation. I explain how developments in sensorimotor ability (posture, arm and hand control and coordination, and locomotion) in the first (...) year of life prepare the infant for acquiring the pointing gesture. The former may directly enable the latter by allowing the infant to experience its own body as being “like those” of others, thus allowing it to imitatively appropriate a broader range of adult behavior. My proposal emphasizes the embodiment of mind in the development of cognition, contrary to latent dualistic tendencies in some developmental literature. (shrink)

This paper is concerned with adaptive learning and coordination processes. Implementing agent-based modeling techniques (Learning Classifier Systems, LCS), we focus on the twofold impact of cognitive and environmental complexity on learning and coordination. Within this framework, we introduce the notion of Adaptive Learning Agent with Rule-based Memory (ALARM), which is a particular class of Artificial Adaptive Agent (AAA, Holland and Miller 1991). We show that equilibrium is approached to a high degree, but never perfectly (...) reached. We also demonstrate that memorization and learning capacities depend upon the relative discordance between the cognitive complexity of agents' mental models and the degree of stability of the environment. (shrink)

Despite its advanced age of about 375 years, the mind–body problem is alive and well, in part because it is anchored so well institutionally in schools and in research. This continued presence is astonishing in the light of the fact that the seed for its solution, sown in Spinoza’s Ethics, is almost as old. The solution rests on the position that there is only one substance, which, invisible, manifests itself in two attributes, thought and extension. By thinking with Spinoza, especially (...) by following the ways in which Vygotsky and Marx think with Spinoza, we arrive at an approach suitable for a social psychological theory of learning that does not separate knowing from doing and emoting. A classroom fragment from a 10th-grade physics curriculum is used as the starting point for overcoming the body–mind problem by thinking with Spinoza. (shrink)

Producing content-related gestures has been found to impact students’ learning, whether such gestures are spontaneously generated by the learner in the course of problem-solving, or participants are instructed to pose based on experimenter instructions during problem-solving and word learning. Few studies, however, have investigated the effect of (a) performing instructed gestures while learning concepts or (b) producing gestures without there being an implied connection between the gestures and the concepts being learned. The two studies reported here investigate (...) the impact of instructed hand movements on students’ subsequent understanding of a concept. Students were asked to watch an instructional video—focused on the concept of statistical model—three times. Two experimental groups were given a secondary task to perform while watching the video, which involved moving their hands to mimic the placement and orientation of red rectangular bars overlaid on the video. Students were told that the focus of the study was multitasking, and that the instructed hand movements were unrelated to the material being learned. In the content-match group the placement of the hands reinforced the concept being explained, and in the content-mismatch group it did not. A control group was not asked to perform a secondary task. In both studies, findings indicate that students in the content-match group performed better on the posttest, and showed less variation in performance, than did students in the content-mismatch group, with control students falling in between. Instructed hand movement—even when presented as an unrelated, secondary task—can affect students’ learning of a complex concept. (shrink)

Educating against extremism doesn't just involve seeking to prevent individuals from becoming extremists or radicalized, although that, of course, is a significant concern. There is also an important role for education in teaching the rest of us, the general populace, the best way to react and respond when we learn of a terrorist attack or consider the potential risk of violent extremism in our community, or even worldwide, given we are connected globally via technology. In this article, Laura D'Olimpio argues (...) that educators have a central role to play in teaching young people to respond to the news of violent extremism and the worry about terrorists and terrorism in ways that support our sense of community and personal well-being. Among the ways in which educators may support such aims is by educating the emotions. There are practical and moral reasons to temper our fearful reactions, and it is in our best interest to educate pupils to avoid allowing fear of terrorists or violent extremism to interfere with their daily lives and actions. D'Olimpio claims that our best response to extremism, both representationally and practically, is to refuse to be terrified. By not being overwhelmed by fear or altering our day-to-day activities, we not only better support a well-functioning democracy and our own happiness or flourishing, but we also disempower rather than empower extremists. (shrink)

Lewis was not, and is not, very popular in the academy. I think there are three reasons.First, he did not stick to his subject, which was medieval and Renaissance literature. He wrote highly successful children's books, theological works, and articles accessible to nonspecialists, and was an acclaimed broadcaster. All this allowed his critics to suggest that he was not a proper academic, because proper academics do not throw their nets so wide.Second, he was good at everything he did (except perhaps (...) some areas of philosophy: he was famously bested by Elizabeth Anscombe when he ventured onto her home ground). This was perhaps the most infuriating thing about him. The justification for academic superspecialization is that one cannot do more than one thing really well. But Lewis did. He was a better Renaissance scholar than those who criticized him, moaned about him in the Oxford cloisters, and blackballed him for appointments. He is relentlessly readable; therefore (said his detractors) his scholarship must be shoddy.Lewis infuriates me too. Often, when I think I have had an original thought in some domain a million miles from Renaissance literature, I discover not only that Lewis had had that thought already, but had explicated it, seeing angles I never noticed, and more often than not he had exploded it, using a tenth of the words I used, and all in devastatingly simple prose that would entertain and illuminate the most uninterested plumber.And third, of course, he was a Christian, which was then becoming an unforgivable sin, as it remains now in the humanities (though not the physical sciences or mathematics). The usual (stated) objection to academic Christians is that their theological commitment precludes objectivity, but Lewis's academic writing (notably his English Literature in the Sixteenth Century: Excluding Drama [1954]) was so good that that indictment could not stick, and his opponents descended into incoherent fulmination about superannuated paradigms.These reasons help to explain the chilly reception (or, more often, nonreception) by self-billed “serious thinkers” of Lewis's “space trilogy”: Out of the Silent Planet, Perelandra, and That Hideous Strength (hereafter THS). In relation to THS there is another reason: the novel is about them. No, about us. Lewis's view of us is just too keen, his diagnosis too alarming.The main concerns of THS are dehumanization, the role of institutions in that dehumanization, and the desire of individuals to be part of an esoteric circle. More broadly, it concerns the nature of evil. Its debt to the Divine Comedy and to Charles Williams, Lewis's fellow Inkling, are clear.The central character is a young academic, Mark Studdock. We all know him. His education had been “neither scientific nor classical—merely ‘Modern.’ That left him pathetically manipulable. The severities both of abstraction and of high human tradition had passed him by: and he had neither peasant shrewdness nor aristocratic honour.” Studdock was “a man of straw, a glib examinee in subjects that require no exact knowledge.” He stood for nothing; he weighed nothing.Humans are not supposed to be weightless. We will do anything to convince ourselves that we have mass. Many of our strategies are counterproductive. Some are disastrous and lead to dissolution. Studdock's strategy is one of the commonest and most catastrophic: he tries to get to the center of things—to the “Inner Ring” whose geography is described by Lewis in his 1944 lecture (and later essay) of that name. At some level, at least occasionally, Studdock knows the stupidity of this ambition, but he closes his eyes and his mind. And he begins to be used by forces far greater than any he had dreamed of.The book opens with a merciless (and horribly entertaining) account of academic politics. Read it and cringe in recognition: the mechanics of toadyism; the devices for getting your own way with a committee (put the real business in coded form at the end of an agenda, to be dealt with on a hot day after lunch); infuse everything with an appeal to self-interest, but never put it quite like that, for fear of awakening long-dormant altruism. Obfuscate: do not call the sale of an ancient woodland in which Merlin's body lies “the sale of Bragdon Wood” but the sale of “the area coloured pink on the plan.” Learn to talk like the bursar of Studdock's college, for each of his sentences was “a model of lucidity: and if his hearers found the gist of his whole statement less clear than the parts, that may have been their fault.” As a manual for getting your own way in institutions, The Prince is artless and benign beside THS.Studdock becomes a pawn in a big and diabolical game. A vast organization, the National Institute for Coordinated Experiments, known, of course, as “NICE” (never underestimate the importance of an acronym), which turns out to be the instrument of dark supernatural forces, is becoming a state within a state. It is unaccountable. That is its tagline, indeed: it will be free of the red tape that inhibits the research of more conventional institutions. And who can define with sufficient exactitude the difference in principle between tedious administrative red tape and moral stricture? If you are in with the NICE, anything goes.The NICE's project is the unmaking of everything that is quintessentially human and, eventually, everything that is biological. Life itself is just too unhygienic. Beauty is a joke. Sentiment a delusion. Love merely a result of chemical interactions in the brain. Nothing signifies.The NICE has a handful of opponents—a raggedy bunch (including a bear) under the direction of Ransom, who has traveled outside planet Earth in the previous two books in the trilogy. The company, it turns out, is the remnant of the old Arthurian kingdom of Logres, which has always been in tension, if not war, with the modern kingdom of Britain: “Haven't you noticed that we are two countries? After every Arthur, a Mordred; behind every Milton, a Cromwell: a nation of poets, a nation of shopkeepers: the home of Sidney—and of Cecil Rhodes.” They recruit Studdock's wife, Jane, who can spy clairvoyantly on the NICE, and then a revived Merlin comes from his tomb to their aid.THS is strong meat. Many will balk at its supernaturalism, and perhaps in particular its complementarian view of the relationship between the sexes. But hear Lewis out: you might not agree with him, but he is always interesting. When I read THS thirty years ago, I thought it a ripping yarn. It still is. But now I see it as prescient, prophetic, and profoundly important. It should be on every university reading list, for every subject, and no one should be allowed to hold any kind of public office until they have shown that they have assimilated its lessons. (shrink)

‘It is necessary to a Prince to learn how not to be good’. This quotation from Machiavelli’s The Prince has become the mantra of the standard dirty hands thesis. Despite its infamy, it features proudly in most conventional expositions of the dirty hands problem, including Michael Walzer’s original analysis. In this paper, I wish to cast a doubt as to whether the standard conception of the problem of DH—the recognition that, in certain inescapable and tragic circumstances an innocent course of (...) action is unfeasible—fully captures Machiavelli’s message and its terrifying implications. In particular, I argue that the standard DH thesis is inadequately ‘static’: it conceives the conflict between ordinary morality and political morality as a stark, momentary and rare paradox of action—an anomaly disrupting the normality of harmony. As such it misconceives both the extent and the nature of the rupture between morality and politics. In this sense, the argument I shall advance does just involve an exercise in the history of political thought. Rather, I want to suggest that, by virtue of its failure to take Machiavelli’s insights seriously, the standard DH thesis fails to live up to its purported capacity to capture the complexity and fragmentation of our moral cosmos and that, consequently, it is nothing more than a thinly veiled version of the idealism and monism it purports to reject. (shrink)

A beneficial effect of gesture on learning has been demonstrated in multiple domains, including mathematics, science, and foreign language vocabulary. However, because gesture is known to co-vary with other non-verbal behaviors, including eye gaze and prosody along with face, lip, and body movements, it is possible the beneficial effect of gesture is instead attributable to these other behaviors. We used a computer-generated animated pedagogical agent to control both verbal and non-verbal behavior. Children viewed lessons on mathematical equivalence in which (...) an avatar either gestured or did not gesture, while eye gaze, head position, and lip movements remained identical across gesture conditions. Children who observed the gesturing avatar learned more, and they solved problems more quickly. Moreover, those children who learned were more likely to transfer and generalize their knowledge. These findings provide converging evidence that gesture facilitates math learning, and they reveal the potential for using technology to study non-verbal behavior in controlled experiments. (shrink)

Evidence is mounting that nature-based learning (NBL) enhances children’s educational and developmental outcomes, making this an opportune time to identify promising questions to carry research and practice in this field forward. We present the outcomes of a process to set a research agenda for NBL, undertaken by the Science of Nature-Based Learning Collaborative Research Network, with funding from the National Science Foundation. A literature review and several approaches to gathering input from researchers, practitioners and funders resulted in recommendations (...) for research questions and methodological improvements to increase the relevance and rigor of research in this field. Some questions seek to understand how learning in nature affects what children learn, how they learn, and how it varies based on age, gender, socioeconomic status, ethnic background, special needs and individual differences. Outcomes of interest cover academic performance, practical skills, personal development, and environmental stewardship. Other questions seek to find causal explanations for observed outcomes. To create optimal conditions for NBL, the research agenda includes practical questions about how to prepare teachers to work successfully in nature and how to support their adoption of this approach. Not least, the research agenda asks whether learning in nature can address major societal issues by moderating the effect of socioeconomic disadvantage on children’s academic achievement, personal development and wellbeing, and how these benefits might be attained at reasonable costs. A deeper understanding of how, why and for whom different forms of nature contact enhance learning and development is needed to guide practice and policy decision-making. (shrink)

We describe an algorithm which allows a behavior-based robot to learn on the basis of positive and negative feedback when to activate its behaviors. In accordance with the philosophy of behavior-based robots, the algorithm is completely distributed: each of the behaviors independently tries to find out (i) whether it is relevant (ie. whether it is at all correlated to positive feedback) and (ii) what the conditions are under which it becomes reliable (i.e. the conditions under which i t maximizes the (...) probability of receiving positive feedback and minimizes the probability of receiving negative feedback). The algorithm has been tested successfully on an autonomous 6-legged robot which had to learn how to coordinate its legs so as to walk forward. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

A beneficial effect of gesture on learning has been demonstrated in multiple domains, including mathematics, science, and foreign language vocabulary. However, because gesture is known to co‐vary with other non‐verbal behaviors, including eye gaze and prosody along with face, lip, and body movements, it is possible the beneficial effect of gesture is instead attributable to these other behaviors. We used a computer‐generated animated pedagogical agent to control both verbal and non‐verbal behavior. Children viewed lessons on mathematical equivalence in which (...) an avatar either gestured or did not gesture, while eye gaze, head position, and lip movements remained identical across gesture conditions. Children who observed the gesturing avatar learned more, and they solved problems more quickly. Moreover, those children who learned were more likely to transfer and generalize their knowledge. These findings provide converging evidence that gesture facilitates math learning, and they reveal the potential for using technology to study non‐verbal behavior in controlled experiments. (shrink)

Research has shown that gesture production supports learning across a number of tasks. It is unclear, however, whether gesture production during encoding can support narrative recall, who gesture production benefits most, and whether certain types of gestures are more beneficial than others. This study, therefore, investigated the effect of gesture production during the encoding of a narrative on subsequent narrative recall, and whether individuals’ levels of verbal and nonverbal memory moderated this effect. Additionally, this study investigated whether producing certain (...) types of gestures during encoding was more beneficial than others. Participants (N = 90, Mage = 20.43) read aloud a narrative while under instruction to produce gestures, under no specific instruction to produce gestures, or were required to keep their hands behind their back to prevent them from gesturing. Participants completed measures assessing verbal and nonverbal memory. While gesture production during encoding benefitted narrative recall (as measured through specific questions), verbal memory moderated the effect, such that gesture production was more beneficial for individuals with higher than lower verbal memory. Furthermore, producing representational gestures during encoding benefitted recall of points in the narrative at which those gestures were produced, while beat gestures had no effect. Findings have implications for understanding the mechanisms underlying the links between gesture and learning, as well as practical implications in instructional settings. (shrink)

We consider two players each of whom attempts to predict the behavior of the other, using no more than the history of earlier predictions. Behaviors are limited to a pair of options, conventionally denoted by 0, 1. Such players face the problem of learning to coordinate choices. The present paper formulates their situation recursion theoretically, and investigates the prospects for success. A pair of players build up a matrix with two rows and infinitely many columns, and are said to (...) “learn” each other if cofinitely many of the columns show the same number in both rows (either 0 or 1). Among other results we prove that there are two collections of players that force all other players to choose their camp. Each collection is composed of players that learn everyone else in the same collection, but no player that learns all members of one collection learns any member of the other. (shrink)

We explore multi-scale relations in artificial intelligence (AI) use in order to identify difficulties with coordinating relations between users, machine learning (ML) processes, and “sociobuilt contexts”—specifically in terms of their applications to medical technologies and decisions. We begin by analyzing a recent COVID-19 machine learning case study in order to present the difficulty of traversing the detailed causal topography of “sociobuilt contexts.” We propose that the adequate representation of the interactions between social and built processes that occur on (...) many scales ought to drive interdisciplinary approaches for ML modification. Next, we describe ML algorithm development as a process that is partly dependent on methodological stabilization for reliability and partly on coordinating relations. In the coordination between user, ML process, and sociobuilt contexts, we propose that new methods can be explored that promote the inclusion of patients and communities for the purpose of cross-checking portions of the ML process. Finally, we suggest that the advantages of responsible innovation emerge through the iterative entanglement of ethical, methodological, and ontological considerations within the broader conceptual infrastructure of epistemic responsibility. (shrink)

Vanderschraaf develops a new theory of game theory equilibrium selection in this book. The new theory defends general correlated equilibrium concepts and suggests a new analysis of convention.

This paper investigates a distributed coordination control for a class of high-order uncertain multiagent systems. Under the framework of iterative learning control, a novel fully distributed learning protocol is devised for the coordination problem of MASs including time-varying parameter uncertainties as well as actuator saturations. Meanwhile, the learning updating laws of various parameters are proposed. Utilizing Lyapunov theory and combining with Graph theory, the proposed algorithm can make each follower track a leader completely over a (...) limited time interval even though each follower is without knowing the dynamics of the leader. Moreover, the extension to formation control is made. The validity and feasibility of the algorithm are verified conclusively by two examples. (shrink)

BackgroundTraumatic brachial plexus injury (TBPI) causes a sensorimotor deficit in upper limb (UL) movements.ObjectiveOur aim was to investigate the arm–forearm coordination of both the injured and uninjured UL of TBPI subjects.MethodsTBPI participants (n = 13) and controls (n = 10) matched in age, gender, and anthropometric characteristics were recruited. Kinematics from the shoulder, elbow, wrist, and index finger markers were collected, while upstanding participants transported a cup to their mouth and returned the UL to a starting position. The UL (...) coordination was measured through the relative phase (RP) between arm and forearm phase angles and analyzed as a function of the hand kinematics.ResultsFor all participants, the hand transport had a shorter time to peak velocity (p < 0.01) compared to the return. Also, for the control and the uninjured TBPI UL, the RP showed a coordination pattern that favored forearm movements in the peak velocity of the transport phase (p < 0.001). TBPI participants' injured UL showed a longer movement duration in comparison to controls (p < 0.05), but no differences in peak velocity, time to peak velocity, and trajectory length, indicating preserved hand kinematics. The RP of the injured UL revealed altered coordination in favor of arm movements compared to controls and the uninjured UL (p < 0.001). Finally, TBPI participants' uninjured UL showed altered control of arm and forearm phase angles during the deceleration of hand movements compared to controls (p < 0.05).ConclusionThese results suggest that UL coordination is reorganized after a TBPI so as to preserve hand kinematics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Synopsis of the Eighth Annual Building Bridges:East and West Graduate Student Philosophy Conference at Southern Illinois University Carbondale, November 4 and 5, 2005Joshua P. KimberThe Eighth Annual Building Bridges: East and West Graduate Student Philosophy Conference at Southern Illinois University Carbondale (SIUC) was held on November 4 and 5, 2005. Nine students representing nine different universities presented papers over the two days of the conference. Since its inception in (...) 1998, the Building Bridges conference has provided an annual opportunity for graduate students to present their research on several different comparative themes in philosophy. The context of comparison for the 2005 conference, as indicated in its title, was East and West.Professor Philip J. Ivanhoe was the keynote speaker, and his presentation, titled "The Values of Spontaneity," was a highlight of the first day of the conference. Professor Ivanhoe began by making a distinction between two senses of spontaneity generally present in Western writings, which he referred to as "untutored" and "cultivated" spontaneity. He aligned these two senses of the term with Daoism and Confucianism, respectively, and sought to demonstrate the ethical value of spontaneity within these traditions. "Untutored" spontaneity, which characterizes the notions of wuwei and ziran in Daoism is not something that is acquired. It is rooted in one's inherent nature and is more effectively enhanced by the removal of impediments to its realization than by learning. "Cultured" spontaneity, on the other hand, presupposes a disposition that is acquired through appropriate enculturation. It is exemplified in the rituals and rites of Confucianism. In both cases, spontaneous activity consists of participation within a greater scheme, whether nature or culture, and it is in such spontaneous participation that one may experience greater significance in one's actions, "metaphysical comfort," and joy.Through his comparative approach, Professor Ivanhoe contributed to an enriched understanding of the value of spontaneity while illuminating significant aspects of Daoism and Confucianism. The student presentations that spanned the two days of the conference were characterized by a similar use of comparison. A variety of topics were addressed from property ownership to the locus of moral responsibility, and in each case the topic of investigation was developed by way of an appeal to Eastern and Western philosophical perspectives. Facets of Chinese, Indian, Japanese, and Russian thought were brought into dialogue with philosophers of the West from Aristotle to Sartre. [End Page 707]One theme that became evident in the different presentations and discussions that followed was the role and importance of composure. Each of the presentations exposed valuable, yet distinct ways of understanding how one may relate to history, others, the world, or, more generally, one's greater context. There was a common interest in clarifying what kind of composure is called for in these different approaches to relationality. In the separate papers and in the ensuing questions, there was an attempt to understand better how these diverse perspectives can inform one's actions and contribute to the realization of greater benefit, value, and significance in one's life. These considerations contributed not only to the building of several comparative philosophy "bridges" but also to an appreciation of the value that traversing such bridges may offer.On a more aesthetic note, Carbondale and the surrounding area offered a spectacular sense of the season marked by beautiful fall foliage and large, calm lakes. The SIUC campus was blanketed with colorful leaves and swept with cool breezes. This autumn environment contributed a sense of seasonal charm and aesthetic character that further enhanced the overall experience of the conference.Even more inviting than the environment were the many people who made the conference a success. The 2005 conference coordinator, Travis Smith, and the other SIUC graduate students who shared their homes, culinary skills, and conversation effectively conveyed a genuine sense of hospitality that made the many people who traveled to Illinois from around the country feel welcome and comfortable.Several of the practices that contributed to the success of the Building Bridges Conference have since contributed to the structure of the CrossCurrents Graduate Student Conference that will be held at the University of Hawai'i at Mānoa on March 16 and 17, 2006. The CrossCurrents theme for... (shrink)