Over the past four decades, French sociologist Pierre Bourdieu produced one of the most imaginative and subtle bodies of social theory of the postwar era. When he died in 2002, he was considered to be the most influential sociologist in the world and a thinker on a par with Foucault and Le;vi-Strauss—a public intellectual as important to his generation as Sartre was to his. Sketch for a Self-Analysis is the ultimate outcome of Bourdieu’s lifelong preoccupation with reflexivity. Vehemently not (...) an autobiography, this unique book is instead an application of Bourdieu’s theories to his own life and intellectual trajectory; along the way it offers compelling and intimate insights into the most important French intellectuals of the time—including Foucault, Sartre, Aron, Althusser, and de Beauvoir—as well as Bourdieu’s own formative experiences at boarding school and his moral outrage at the colonial war in Algeria. (shrink)

In this paper I sketch an account of moral blame and blameworthiness. I begin by clarifying what I take blame to be and explaining how blameworthiness is to be analyzed in terms of it. I then consider different accounts of the conditions of blameworthiness and, in the end, settle on one according to which a person is blameworthy for φ-ing just in case, in φ-ing, she violates one of a particular class of moral requirements governing the attitudes we bear, (...) and our mental orientation, toward people and other objects of significant moral worth. These requirements embody the moral stricture that we accord to these others a sufficient level of respect, one that their moral worth demands. This is a familiar theme which has its roots in P. F. Strawson’s pioneering views on moral responsibility. My development of it leads me to the conclusion that acting wrongly is not a condition of blameworthiness: violating a moral requirement to perform, or refrain from performing, an action is neither necessary nor sufficient for being blameworthy. All we are ever blameworthy for, I will argue, are certain aspects of our mental bearing toward others. We can be said to be blameworthy for our actions only derivatively, in the sense that those actions are the natural manifestations of the things for which we are strictly speaking blameworthy. (shrink)

Sketching is a powerful means of working out and communicating ideas. Sketch understanding involves a combination of visual, spatial, and conceptual knowledge and reasoning, which makes it both challenging to model and potentially illuminating for cognitive science. This paper describes CogSketch, an ongoing effort of the NSF-funded Spatial Intelligence and Learning Center, which is being developed both as a research instrument for cognitive science and as a platform for sketch-based educational software. We describe the idea of open-domain (...) class='Hi'>sketch understanding, the scientific hypotheses underlying CogSketch, and provide an overview of the models it employs, illustrated by simulation studies and ongoing experiments in creating sketch-based educational software. (shrink)

Sketching as a scientific practice goes beyond the simple act of inscribing diagrams onto paper. Scientists produce a wide range of representations through sketching, as it is tightly coupled to model-based reasoning. Chemists in particular make extensive use of sketches to reason about chemical phenomena and to communicate their ideas. However, the chemical sciences have a unique problem in that chemists deal with the unseen world of the atomic-molecular level. Using sketches, chemists strive to develop causal mechanisms that emerge from (...) the structure and behavior of molecular-level entities, to explain observations of the macroscopic visible world. Interpreting these representations and constructing sketches of molecular-level processes is a crucial component of student learning in the modern chemistry classroom. Sketches also serve as an important component of assessment in the chemistry classroom as student sketches give insight into developing mental models, which allows instructors to observe how students are thinking about a process. In this paper we discuss how sketching can be used to promote such model-based reasoning in chemistry and discuss two case studies of curricular projects, CLUE and The Connected Chemistry Curriculum, that have demonstrated a benefit of this approach. We show how sketching activities can be centrally integrated into classroom norms to promote model-based reasoning both with and without component visualizations. Importantly, each of these projects deploys sketching in support of other types of inquiry activities, such as making predictions or depicting models to support a claim; sketching is not an isolated activity but is used as a tool to support model-based reasoning in the discipline. (shrink)

In this introductory chapter to my collection of papers, Modal Matters, I present my tripartite account of reality. First, I endorse a plenitudinous Platonism: for every consistent mathematical theory, there is in reality a mathematical system in which the theory is true. Second, for any way of distributing fundamental qualitative properties over mathematical structures, there is a portion of reality that has that structure with fundamental properties distributed in that way; some of these portions of reality, when isolated, are the (...) possible worlds. Third, there is a fundamental ontological distinction between those portions of reality that are absolutely actual, and those that are merely possible. In the course of developing this account of reality, I sketch my views on logic, mathematics, modality, qualitative character, and actuality. An austere Humeanism that rejects all primitive modality motivates and constrains my views. (shrink)

Finitary sketches, i.e., sketches with finite-limit and finite-colimit specifications, are proved to be as strong as geometric sketches, i.e., sketches with finite-limit and arbitrary colimit specifications. Categories sketchable by such sketches are fully characterized in the infinitary first-order logic: they are axiomatizable by σ-coherent theories, i.e., basic theories using finite conjunctions, countable disjunctions, and finite quantifications. The latter result is absolute; the equivalence of geometric and finitary sketches requires (in fact, is equivalent to) the non-existence of measurable cardinals.

In many fields of biology, both the phenomena to be explained and the mechanisms proposed to explain them are commonly presented in diagrams. Our interest is in how scientists construct such diagrams. Researchers begin with evidence, typically developed experimentally and presented in data graphs. To arrive at a robust diagram of the phenomenon or the mechanism, they must integrate a variety of data to construct a single, coherent representation. This process often begins as the researchers create a first sketch, (...) and it continues over an extended period as they revise the sketch until they arrive at a diagram they find acceptable. We illustrate this process by examining the sketches developed in the course of two research projects directed at understanding the generation of circadian rhythms in cyanobacteria. One identified a new aspect of the phenomenon itself, whereas the other aimed to develop a new mechanistic account. In both cases, the research resulted in a paper in which the conclusion was presented in a diagram that the authors deemed adequate to convey it. These diagrams violate some of the normative “cognitive design principles” advanced by cognitive scientists as constraints on successful visual communication. We suggest that scientists’ sketching is instead governed by norms of success that are broadly explanatory: conveying the phenomenon or mechanism. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by (...) two stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

This paper explores the visual construction and representation of co-accused women offenders in court drawings. It utilises three case studies of female co-defendants who appeared in the England and Wales court system between 2003 and 2013. In doing so this paper falls into three parts. The first part considers the emergence of the sub-discipline, visual criminology and examines what is known about the visual representation of female offenders. The second part presents the findings of an empirical investigation, which involved engaging (...) in a critical, reflexive visual analysis of a selection of court drawings of three female co-offenders. The third part discusses the ways in which the court artists' interpretation, the conventions of court sketching, and motifs of female offenders as secondary actors, drew on existing myths and prejudices by representing the women as listening, remorseless ‘others’. (shrink)

Engineering sketches and drawings are the building blocks of technological design and production. These visual representations act as the means for organizing the design to production process, hence serving as a "social glue" both between individuals and between groups. The author discusses two main capacities such visual representations serve in facilitating distributed cognition in team design work As conscription devices, they enlist and organize group participation. As boundary objects, they facilitate the reading of alternative meanings by various groups involved in (...) the design process. The introduction of computer-aided design into this visual culture of engineering restructures relationships between workers in ways that can hamper the flexibility necessary for these crucial capacities to take place. The data are drawn from a study of the daily practices of engineers engaged in redesigning a turbine engine package. The method is participant observation. (shrink)

Research from cognitive science and geoscience education has shown that sketching can improve spatial thinking skills and facilitate solving spatially complex problems. Yet sketching is rarely implemented in introductory geosciences courses, due to time needed to grade sketches and lack of materials that incorporate cognitive science research. Here, we report a design-centered, collaborative effort, between geoscientists, cognitive scientists, and artificial intelligence researchers, to characterize spatial learning challenges in geoscience and to design sketch activities that use a sketch-understanding program, (...) CogSketch. We developed 26 CogSketch worksheets that use cognitive science–based principles to scaffold problem solving of spatially complex geoscience problems and report observations of an implementation in an introductory geoscience course where students used CogSketch or human-graded paper worksheets. Overall, this research highlights the principles of interdisciplinary design between cognitive scientists, geoscientists, and AI researchers that can inform the collaborative design process for others aiming to develop effective educational materials. (shrink)

In his last book, David Armstrong sets out his metaphysical system in a set of concise and lively chapters each dealing with one aspect of the world. He begins with the assumption that all that exists is the physical world of space-time. On this foundation he constructs a coherent metaphysical scheme that gives plausible answers to many of the great problems of metaphysics. He gives accounts of properties, relations, and particulars; laws of nature; modality; abstract objects such as numbers; and (...) time and mind. (shrink)

In this paper I shall “draw” a sketch of a version of Meinongian Presentism. After having briefly presented some data that presentists need to explain and three problems that typically affect presentism (the triviality objection, the problem of the reference of true propositions’ constituents that seem to involve merely past and merely future objects, the truthmaking problem), I shall clarify the bases of my theory. First, I shall reject the actualist presentist assumption, according to which there are no things (...) that do not exist now. Secondly, I shall introduce some notions (e.g., the ones of tensed properties and of temporal existence) that will be useful in order to clarify the contrast between eternalist and non-eternalist metaphysical theories of time. Thirdly, I shall define Meinongian Presentism. Finally, I shall try to demonstrate that this version can deal with the aforementioned problems and with the presentist data in a serious and perspicuous way. (shrink)

This chapter summarizes some of the main biographical facts about Noam Chomsky's life. It is impossible to do full justice to the milieux that have influenced Chomsky and that he has shaped in such in a short sketch. Chomsky was becoming intensely interested in politics. He was affected by international events, particularly the Spanish civil war. At the age of 10, he wrote his first article, an editorial for his school newspaper on the fall of Republican Barcelona to Franco's (...) forces. In 1945, at the age of 16, Chomsky enrolled at the University of Pennsylvania, paying for his education by teaching Hebrew in the evenings and on Sundays. Chomsky was awarded his PhD from the University of Pennsylvania in 1955, based on only one chapter of his thesis, a roughly 500‐page manuscript that came to be widely circulated in mimeograph, The Logical Structure of Linguistic Theory. (shrink)

John Swales’ 1986 article ‘Citation analysis and discourse analysis’ was the first to apply citation analysis to describe in-text citations in the field of discourse analysis. Howard White’s 2004 article ‘Citation analysis and discourse analysis revisited’ was written by an information scientist and primarily focused on citation analysis and discourse analysis. Here, we cast a wider net by conducting a bibliometric analysis of discourse analysis to sketch its scientific landscape between 1978 and 2018. Our findings show that discourse analysis (...) has emerged as a major, and increasingly distinctively sociological, contribution to the analysis of language in social life. It is evident that discourse analysts are increasingly interested in such topics as corpus linguistics, digital conversation analysis, discursive news values approach, membership categorization analysis, multimodal analysis and social media. It is a general trend that the United States is no longer the only dominating publication powerhouse in the field. Countries such as the United Kingdom, Australia and China are wielding a growing share of research output. (shrink)

Although written fairly early in his career, in 1939, _Sketch for a Theory of the Emotions_ is considered to be one of Jean-Paul Sartre's most important pieces of writing. It not only anticipates but argues many of the ideas to be found in his famous _Being and Nothingness._ By subjecting the emotion theories of his day to critical analysis, Sartre opened up the world of psychology to new and creative ways of interpreting feelings. Emotions are intentional and strategic ways of (...) coping with difficult situations. We choose to utilize them, _we_ control _them_, and not the other way around, as has been posited elsewhere. Emotions are not fixed; they have no essence and indeed are subject to rapid fluctuations and about-turns. For its witty approach alone, Sartre's _Sketch for a Theory of the Emotions_ can be enjoyed at length. It is a dazzling journey to one of the more intriguing theories of our time. (shrink)

The goal of this study was to explore two accounts for why sketching during learning from text is helpful: sketching acts like other constructive strategies such as self-explanation because it helps learners to identify relevant information and generate inferences; or that in addition to these general effects, sketching has more specific benefits due to the pictorial representation that is constructed. Seventy-three seventh-graders were first taught how to either create sketches or self-explain while studying science texts. During a subsequent learning phase, (...) all students were asked to read an expository text about the greenhouse effect. Finally, they were asked to write down everything they remembered and then answer transfer questions. Strategy quality during learning was assessed as the number of key concepts that had either been sketched or mentioned in the self-explanations. The results showed that at an overall performance level there were only marginal group differences. However, a more in-depth analysis revealed that whereas no group differences emerged for students implementing either strategy poorly, the sketching group clearly outperformed the self-explanation group for students who applied the strategies with higher quality. Furthermore, higher sketching quality was strongly related to better learning outcomes. Thus, the study's results are more in line with the second account: Sketching can have a beneficial effect on learning above and beyond generating written explanations; at least, if well deployed. (shrink)

Sketches of Democracy is a captivating book that chronicles the first year in the life of a new urban high school. Based on journal entries and educational literature, this book traces the author’s challenging journey toward creating a democratic community of learners within a tangle of socio-economic and political issues. An experienced public school teacher and university educator, DeLorenzo brings a unique perspective to the teaching/learning process. Her poignant anecdotal stories, along with information from authoritative sources, provide a narrative that (...) is deeply reflective and affecting. This book is a must-read for teachers, teacher candidates, and teacher educators who share a passion for teaching those on the margins of society. (shrink)

"A driving force in all Sartre's writing is his serious desire to change the life of his reader." -- Iris Murdoch.

This paper will defend the claim that, under certain circumstances, the material vehicles responsible for an agent’s conscious experience can be partly constituted by processes outside the agent’s body. In other words, the consciousness of the agent can extend. This claim will be supported by the Extended Mind Thesis (EMT) example of the artist and their sketchpad (Clark 2001, 2003). It will be argued that if this example is one of EMT, then this example also supports an argument for consciousness (...) extension. Clark (2009) rejects claims of consciousness extension. This paper will challenge Clark and argue that he fails to show that the material vehicles responsible for consciousness must be internal to the agent. (shrink)

This paper sketches one possible form that a pragmatist philosophy of science might take. It defends general philosophy of science, although not in the form it has traditionally taken, and along with this, a focus on methodology as a legitimate concern for philosophers of science. Connections are made between some classical pragmatist themes and issues in contemporary philosophy of science. My intention is to be provocative.

You are all, I trust, looking at the envelope I am holding up. Everybody see it? (Affirmative murmur from class.) Fine! Now you people to my left, notice that what you see is not strictly rectangular: it is trapezoidal. If you were an artist, you would draw what you see after this manner: (he draws trapezoid whose right, vertical side is longer than its left vertical side). (Murmur of approval for artistic talent.) Yet the people to my right will notice (...) that what they see is not rectangular either; nor is it exactly like the trapezoid which I have just drawn. Rather, what you see is like this: (he draws a mirror image of the first figure, having a taller left vertical side and a shorter right vertical side). (shrink)

In this paper I look to develop a defence of “presentist temporal passage” that renders presentism immune from recent arguments due to Eric Olson. During the course of the paper, I also offer comment on a recent reply to Olson’s argument due to Ian Phillips. I argue that it is not clear that Phillips’ arguments succeed.

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by (...) two stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by (...) two stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Philosopher, novelist, dramatist and existentialist Jean-Paul Sartre is one of the greatest writers of all time. He was fascinated by the role played by the emotions in human life and placed them at the heart of his philosophy. This brilliant short work - which contains some of the principal ideas later to appear in his masterpiece Being and Nothingness - is Sartre at his best: insightful, engaging and controversial. Far from constraining one's freedom, as we often think, Sartre argues that (...) emotions are fundamental to it and that an emotion is nothing less than 'a transformation of the world'. With a new foreword by Sebastian Gardner. (shrink)

At the heart of evolutionary theory lays the notion of replication. Unfortunately, this notion is far less exact than the weight of its importance. In this paper, it is argued that replication always involves coding. Furthermore, when a theory of evolution is built on replication based on coding, a unifying and coherent picture arises that sheds new light on some of the controversies and open questions in contemporary biology, such as what are the roles of phylogeny and ontogeny in evolution, (...) and how to characterize and explain the increase of biological complexity. (shrink)

Philosopher, novelist, dramatist and existentialist Jean-Paul Sartre is one of the greatest writers of all time. He was fascinated by the role played by the emotions in human life and placed them at the heart of his philosophy. This brilliant short work - which contains some of the principal ideas later to appear in his masterpiece Being and Nothingness - is Sartre at his best: insightful, engaging and controversial. Far from constraining one's freedom, as we often think, Sartre argues that (...) emotions are fundamental to it and that an emotion is nothing less than 'a transformation of the world'. With a new foreword by Sebastian Gardner. (shrink)

St. Thomas Aquinas envisaged theology to be a kind of scientia which was considered as a kind of first cause science. However, science of that time is different from “modern” science. Recently, a theory of scientific study is developed, which outlines science by a theory and some models similar to knowledge in physics. According to this theory, sciences organize their knowledge consisting of theories, models and experiments interacting with physical situations. Perhaps, it is possible to organize knowledge of Christian theology (...) in a similar way as science (from the perspective of Christian belief). Doing this requires extensive and deep knowledge of both science and Christian theology. This paper only attempts to sketch such a theology, which is coined scientia theology to distinguish it from the existing scientific theology of McGrath. Our theology consists of a theory that is outlined here, several historical event models as well as various experiments that provide us with observations supporting the related models and principles. The theory of our theology interacts with the models which may retrodict or are supported by observations from the experiments that interact with the physical situations. (shrink)

Although external representations, such as sketches, are regarded as facilitating insight during creative synthesis and design tasks, previous empirical studies have provided conflicting evidence in support of this role. Here, we argue sketches are static representations that fail to fully externalise mental imagery processes involved during creative synthesis tasks. An experiment is reported in which participants manipulate simple alpha-numeric and geometric shapes into patterns depicting familiar objects or symbols. Trials were performed using either mental imagery alone, drawing manipulations in the (...) air with a finger, sketching manipulations on a piece of paper, or dynamically performing the manipulations on-screen using a graphics package. Results show the number of patterns correctly interpreted as recognisable objects was significantly higher in the dynamic support condition in comparison to all other conditions. Based on this finding, we argue that static forms of external support may be less effec.. (shrink)