Recurrent complex visual hallucinations (RCVH) represent a form of psychosis. It may be useful to compare RCVH to another form of psychosis, catatonia. Both include a long list of medical illnesses and have been examined using several different hypotheses. Catatonia has a variety of hypotheses, including neurocircuitry, neurochemistry, and an integrated neuropsychiatric hypothesis. This hypothesis for catatonia supports Collerton et al.'s Perception and Attention Deficit model (PAD) for RCVH.

Catatonia resulting from a general medical condition (as defined in the DSM-IV) seems to account for a large percentage of patients presenting with catatonia in psychiatric settings. In view of Dr. Northoff's hypothesis, it is important to emphasize that medical catatonias provide additional information to support his neuropsychiatric hypothesis of the anatomical and biochemical mechanisms of catatonia.

The literature contains a disconnect between accounts of how humans learn lexical semantic representations for words. Theories generally propose that lexical semantics are learned either through perceptual experience or through exposure to regularities in language. We propose here a model to integrate these two information sources. Specifically, the model uses the global structure of memory to exploit the redundancy between language and perception in order to generate inferred perceptual representations for words with which the model has no perceptual experience. We (...) test the model on a variety of different datasets from grounded cognition experiments and demonstrate that this diverse set of results can be explained as perceptual simulation (cf. Barsalou, Simmons, Barbey, & Wilson, 2003) within a global memory model. (shrink)

The collection of very large text sources has revolutionized the study of natural language, leading to the development of several models of language learning and distributional semantics that extract sophisticated semantic representations of words based on the statistical redundancies contained within natural language. The models treat knowledge as an interaction of processing mechanisms and the structure of language experience. But language experience is often treated agnostically. We report a distributional semantic analysis that shows written language in fiction books varies appreciably (...) between books from the different genres, books from the same genre, and even books written by the same author. Given that current theories assume that word knowledge reflects an interaction between processing mechanisms and the language environment, the analysis shows the need for the field to engage in a more deliberate consideration and curation of the corpora used in computational studies of natural language processing. (shrink)

Distributional models of semantics learn word meanings from contextual co‐occurrence patterns across a large sample of natural language. Early models, such as LSA and HAL (Landauer & Dumais, 1997; Lund & Burgess, 1996), counted co‐occurrence events; later models, such as BEAGLE (Jones & Mewhort, 2007), replaced counting co‐occurrences with vector accumulation. All of these models learned from positive information only: Words that occur together within a context become related to each other. A recent class of distributional models, referred to as (...) neural embedding models, are based on a prediction process embedded in the functioning of a neural network: Such models predict words that should surround a target word in a given context (e.g., word2vec; Mikolov, Sutskever, Chen, Corrado, & Dean, 2013). An error signal derived from the prediction is used to update each word's representation via backpropagation. However, another key difference in predictive models is their use of negative information in addition to positive information to develop a semantic representation. The models use negative examples to predict words that should not surround a word in a given context. As before, an error signal derived from the prediction prompts an update of the word's representation, a procedure referred to as negative sampling. Standard uses of word2vec recommend a greater or equal ratio of negative to positive sampling. The use of negative information in developing a representation of semantic information is often thought to be intimately associated with word2vec's prediction process. We assess the role of negative information in developing a semantic representation and show that its power does not reflect the use of a prediction mechanism. Finally, we show how negative information can be efficiently integrated into classic count‐based semantic models using parameter‐free analytical transformations. (shrink)

Distributional models of lexical semantics are capable of acquiring sophisticated representations of word meanings. The main theoretical insight provided by these models is that they demonstrate the systematic connection between the knowledge that people acquire and the experience that they have with the natural language environment. However, linguistic experience is inherently variable and differs radically across people due to demographic and cultural variables. Recently, distributional models have been used to examine how word meanings vary across languages and it was found (...) that there is considerable variability in the meanings of words across languages for most semantic categories. The goal of this article is to examine how variable word meanings are across individual language users within a single language. This was accomplished by assembling 500 individual user corpora attained from the online forum Reddit. Each user corpus ranged between 3.8 and 32.3 million words each, and a count‐based distributional framework was used to extract word meanings for each user. These representations were then used to estimate the semantic alignment of word meanings across individual language users. It was found that there are significant levels of relativity in word meanings across individuals, and these differences are partially explained by other psycholinguistic factors, such as concreteness, semantic diversity, and social aspects of language usage. These results point to word meanings being fundamentally relative and contextually fluid, with this relativeness being related to the individualized nature of linguistic experience. (shrink)

A longstanding issue in attempts to understand the Everett (Many-Worlds) approach to quantum mechanics is the origin of the Born rule: why is the probability given by the square of the amplitude? Following Vaidman, we note that observers are in a position of self-locating uncertainty during the period between the branches of the wave function splitting via decoherence and the observer registering the outcome of the measurement. In this period it is tempting to regard each branch as equiprobable, but we (...) argue that the temptation should be resisted. Applying lessons from this analysis, we demonstrate (using methods similar to those of Zurek's envariance-based derivation) that the Born rule is the uniquely rational way of apportioning credence in Everettian quantum mechanics. In doing so, we rely on a single key principle: changes purely to the environment do not affect the probabilities one ought to assign to measurement outcomes in a local subsystem. We arrive at a method for assigning probabilities in cases that involve both classical and quantum self-locating uncertainty. This method provides unique answers to quantum Sleeping Beauty problems, as well as a well-defined procedure for calculating probabilities in quantum cosmological multiverses with multiple similar observers. (shrink)

Generalized anxiety disorder is among the world’s most prevalent psychiatric disorders and often manifests as persistent and difficult to control apprehension. Despite its prevalence, there is no integrative, formal model of how anxiety and anxiety disorders arise. Here, we offer a perspective derived from the free energy principle; one that shares similarities with established constructs such as learned helplessness. Our account is simple: anxiety can be formalized as learned uncertainty. A biological system, having had persistent uncertainty in its past, will (...) expect uncertainty in its future, irrespective of whether uncertainty truly persists. Despite our account’s intuitive simplicity—which can be illustrated with the mere flip of a coin—it is grounded within the free energy principle and hence situates the formation of anxiety within a broader explanatory framework of biological self-organization and self-evidencing. We conclude that, through conceptualizing anxiety within a framework of working generative models, our perspective might afford novel approaches in the clinical treatment of anxiety and its key symptoms. (shrink)

We provide a derivation of the Born Rule in the context of the Everett (Many-Worlds) approach to quantum mechanics. Our argument is based on the idea of self-locating uncertainty: in the period between the wave function branching via decoherence and an observer registering the outcome of the measurement, that observer can know the state of the universe precisely without knowing which branch they are on. We show that there is a uniquely rational way to apportion credence in such cases, which (...) leads directly to the Born Rule. Our analysis generalizes straightforwardly to cases of combined classical and quantum self-locating uncertainty, as in the cosmological multiverse. (shrink)

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social (...) issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. (shrink)

It applies this framework and the new language of theory building to organizational ecology. "There is nothing like this book in the field today.

As the USA contends with another surge in COVID-19 cases, hospitals may soon need to answer the unresolved question of who lives and dies when ventilator demand exceeds supply. Although most triage policies in the USA have seemingly converged on the use of clinical need and benefit as primary criteria for prioritisation, significant differences exist between institutions in how to assign priority to patients with identical medical prognoses: the so-called ‘tie-breaker’ situations. In particular, one’s status as a frontline healthcare worker (...) has been a proposed criterion for prioritisation in the event of a tie. This article outlines two major grounds for reconsidering HCW prioritisation. The first recognises trust as an indispensable element of clinical care and mistrust as a hindrance to any public health strategy against the virus, thus raising concerns about the outward appearance of favouritism. The second considers the ways in which proponents of HCW prioritisation deviate from the very ‘ethics frameworks’ that often preface triage policies and serve to guide resource allocation—a rhetorical strategy that may undermine the very ethical foundations on which triage policies stand. By appealing to trust and consistency, we re-examine existing arguments in favour of HCW prioritisation and provide a more tenable justification for adjudicating on tie-breaker events during crisis standards of care. (shrink)

In the Gospels, Jesus points to children as pattern and paradigm of God's reign. Challenged by Jesus' counter-cultural affirmation of the child, Christian communities are called to vigorous and insistent advocacy for children in our own time.

Background COVID-19 has greatly impacted the health of incarcerated individuals in the US. The goal of this study was to examine perspectives of recently incarcerated individuals on greater restrictions on liberty to mitigate COVID-19 transmission.Methods We conducted semi-structured phone interviews from August through October 2021 with 21 people who had been incarcerated in Bureau of Prisons (BOP) facilities during the pandemic. Transcripts were coded and analyzed, using a thematic analysis approach.Results Many facilities implemented universal “lockdowns,” with time out of the (...) cell often limited to one hour per day, with participants reporting not being able to meet all essential needs such as showers and calling loved ones. Several study participants reported that repurposed spaces and tents created for quarantine and isolation provided “unlivable conditions.” Participants reported receiving no medical attention while in isolation, and staff using spaces designated for disciplinary purposes (e.g., solitary housing units) for public health isolation purposes. This resulted in the conflation of isolation and discipline, which discouraged symptom reporting. Some participants felt guilty over potentially causing another lockdown by not reporting their symptoms. Programming was frequently stopped or curtailed and communication with the outside was limited. Some participants relayed that staff threatened to punish noncompliance with masking and testing. Liberty restrictions were purportedly rationalized by staff with the idea that incarcerated people should not expect freedoms, while those incarcerated blamed staff for bringing COVID-19 into the facility.Conclusions Our results highlighted how actions by staff and administrators decreased the legitimacy of the facilities’ COVID-19 response and were sometimes counterproductive. Legitimacy is key in building trust and obtaining cooperation with otherwise unpleasant but necessary restrictive measures. To prepare for future outbreaks facilities must consider the impact of liberty-restricting decisions on residents and build legitimacy for these decisions by communicating justifications to the extent possible. (shrink)

In Spoils of War, a diverse group of distinguished contributors suggest that acts of aggression resulting from the racism and sexism inherent in social institutions can be viewed as a sort of "war," experienced daily by women of color.

This article is the lead piece in a special report that presents the results of a bioethical investigation into chimeric research, which involves the insertion of human cells into nonhuman animals and nonhuman animal embryos, including into their brains. Rapid scientific developments in this field may advance knowledge and could lead to new therapies for humans. They also reveal the conceptual, ethical, and procedural limitations of existing ethics guidance for human‐nonhuman chimeric research. Led by bioethics researchers working closely with an (...) interdisciplinary work group, the investigation focused on generating conceptual clarity and identifying improvements to governance approaches, with the goal of helping scholars, funders, scientists, institutional leaders, and oversight bodies (embryonic stem cell research oversight [ESCRO] committees and institutional animal care and use committees [IACUCs]) deliver principled and trustworthy oversight of this area of science. The article, which focuses on human‐nonhuman animal chimeric research that is stem cell based, identifies key ethical issues in and offers ten recommendations regarding the ethics and oversight of this research. Turning from bioethics’ previous focus on human‐centered questions about the ethics of “humanization” and this research's potential impact on concepts like human dignity, this article emphasizes the importance of nonhuman animal welfare concerns in chimeric research and argues for less‐siloed governance and oversight and more‐comprehensive public communication. (shrink)

Miracle Max, it seems, is the only remaining miracle worker in all of Florin. Among other things, this means that he (unlike anyone else) can resurrect the recently dead, at least in certain circumstances. Max’s peculiar talents come with significant perks (for example, he can basically set his own prices!), but they also raise a number of ethical dilemmas that range from the merely amusing to the truly perplexing: -/- How much about Max’s “methods” does he need to reveal to (...) his patients? Is it really OK for Max to lie about Valerie’s being a witch, even though she really isn’t? Just how much of the “truth” does Max have to tell his patients? -/- Let’s suppose that Humperdinck had offered Max his old job back. Would it have been OK for Max to accept this offer? What about if Humperdinck wanted him to do experiments at “the Zoo”? -/- Is Max obligated to offer his services to everyone who needs them, such as the (mostly) dead Westley and friends? Or is he free to pick and choose? -/- In this chapter, I’ll consider how these questions might be addressed using concepts of medical ethics. As it turns out, Max’s dilemmas are not too different from the sorts of dilemmas that many medical professionals encounter in their daily lives, and exploring how Max could (or should) respond to them can help us figure out what we can do here in the “real” world. (shrink)

If asked to explain why the Golds’ treatment of other colors in Red Rising is wrong, it is tempting to say something like “they are all human beings, and it is wrong to treat humans in this way!” In this essay, I’ll argue that this simple answer is considerably complicated by the fact that the different colors might not be members of the same biological species, and it is in fact unclear whether any of them are the same species as (...) current humans. Explaining why exactly this is so will lead us to an exploration the long-running debate in biology and philosophy over what exactly it means for two organisms to be “members of the same species.” I’ll begin by discussing the biological essentialism of Aristotle and his followers, who held that an individual organism’s species was determined by essence. One can easily imagine that the Golds might find this attractive, since it would suggest that their “superior” mental and physical capacities made them a different (and probably “higher”) species of humanity than the other colors. Unfortunately for Aristotle, this turns out to be inconsistent with Charles Darwin’s account of evolution by natural selection. This development has led many modern biologists and philosophers of biology to conceptualize species not as an abstract “form” that serves to classify organisms, but rather as a concrete collection of organisms relatively close to each other in space and time. In contrast to biological essentialism, this view of “species as concrete individual” might seem to support the Reds’ claim to the “same species” as the Gold, since they are both part of the same overarching society. Next, I’ll consider how we might tell where one species “ends” and another one “begins.” As it turns out, biologists have many ways of answering his question, each of which makes different judgments about the species of Red Rising’s characters. So, for example, the “Biological Species Concept” bases judgements about species membership on the ability to produce fertile offspring. This concept is far from perfect, however, for reasons that Red Rising makes clear: it doesn’t deal clearly with cases where reproduction is possible but very difficult (a Red and a Gold having a child) or for organisms that do not reproduce sexually (such as Pinks). I’ll then explore a few prominent alternatives to BSC, including both genetically and ecologically based species concepts, and consider their consequences for the society of Red Rising. I’ll conclude by advocating for a “pluralism” about species membership, and will suggest that the people of Red Rising (as well as in the real world) should beware of basing arguments for moral or political equality on the all-too-slippery notion of “shared humanity.” Instead, they should focus on the qualities that make the lives of the individuals (regardless of their species) worth caring about, such as their shared desires to avoid suffering and to lead fulfilling, meaningful lives. (shrink)

Daly, Brendan About a month before my ordination as a priest on 7 May 1977, my diocesan bishop asked me to come and see him at his office. He said after my ordination I was going to be appointed to Mairehau parish as an assistant priest. Two weeks later I was making my pre-ordination retreat and the bishop arrived to see me. He was embarrassed and said 'We have a problem. One parish priest won't take the assistant priest that (...) I want to give him, and another assistant priest won't go where he is appointed, so the end result is that you are now going to Addington parish. Is that okay?' I replied 'Yes.' Both parishes were in Christchurch city, and I did not know either parish priest personally, so it really did not matter at all. However, two weeks later at my ordination ceremony, it came time for the promise of obedience. I knelt down before the bishop who asked me did 'I promise him and his successors obedience and respect.' At the same time as he said this I was conscious of the thought going through my mind, 'what does it all mean anyway?'. (shrink)

RésuméCet article démontre qu'un exemple cité par Ernest Adams pour montrer que l'implication matérielle n'est pas l'interprétation correcte de la sémantique de la conjonction de subordination si, n'est rien d'autre qu'un corollaire d'une observation d'jà faite par Lewis Carroll, il y a cent ans, dans l'exposition de son paradoxe du salon de coiffure.

In this essay, I critically examine the ways in which the characters of Alias attempt to balance their impartial moral obligations (e.g. duties toward humanity) and their personal obligations (e.g. duties toward one's children). I specifically examine three areas of conflict: (1) choices between saving loved ones and maximizing consequences, (2) choices to maintain or sever relationships with characters who are vicious or immoral, and (3) choices to seek or not seek revenge on the behalf of loved ones. I conclude (...) that Sydney's and Jack's moral choices show that one can and should privilege loved ones to some extent, but that this privilege has limits. (shrink)

Libertarian theories of freedom and responsibility face a worry about luck: if an action is undetermined, the action cannot be legitimately attributed to the agent; instead the action is a matter of luck, and so the agent is not responsible for the action. Robert Kane defends libertarianism by appealing to self-forming actions. These actions are undetermined because the agent is attempting to act on two conflicting motives, but the agent is responsible for the outcome if she is responsible for having (...) those motives. If the agent “endorsed” both motives in earlier SFAs, Kane argues that we can hold the agent responsible for both motives, and hence responsible for the later SFA. We will further develop others’ arguments that Kane’s appeal to earlier SFAs to explain responsibility for a later SFA is unsatisfactory. We then raise a second objection to Kane’s use of SFAs. On one formulation of an SFA, the agent does three things: she exerts two efforts of will to make opposing choices, and she also acts on one of them. On another formulation of an SFA, the agent does just two things: she exerts two efforts of will to make opposing choices. One of those efforts turns out to be successful, but that success doesn’t require any further intervention from the agent. We distinguish two worries involving luck, a problem of resultant luck and a problem of constitutive luck, and show that neither model of SFAs solves both problems. (shrink)

Numbers. Natural numbers -- Integers -- Real numbers -- Irrational and transcendental numbers -- Funny numbers. Zero -- e : the unnatural natural number -- [Phi] : the golden ratio -- i : the imaginary number -- Writing numbers. Roman numerals -- Egyptian fractions -- Continued fractions -- Logic. Mr. Spock is not logical -- Proofs, truth, and trees : oh my! -- Programming with logic -- Temporal reasoning -- Sets. Cantor's diagonalization : infinity isn't just infinity -- Axiomatic set (...) theory : keep the good, dump the bad -- Models : using sets as the LEGOs of the math world -- Transfinite numbers : counting and ordering infinite sets -- Group theory : finding symmetries with sets -- Mechanical math. Finite state machines : simplicity goes far -- The turing machine -- Pathology and the heart of computing -- Calculus : no, not that calculus- [lambda] calculus -- Numbers, booleans, and recursion -- Types, types, types : modeling [lambda] calculus -- The halting problem. (shrink)

Since its introduction, multivariate pattern analysis, or ‘neural decoding’, has transformed the field of cognitive neuroscience. Underlying its influence is a crucial inference, which we call the decoder’s dictum: if information can be decoded from patterns of neural activity, then this provides strong evidence about what information those patterns represent. Although the dictum is a widely held and well-motivated principle in decoding research, it has received scant philosophical attention. We critically evaluate the dictum, arguing that it is false: decodability is (...) a poor guide for revealing the content of neural representations. However, we also suggest how the dictum can be improved on, in order to better justify inferences about neural representation using MVPA. 1Introduction 2A Brief Primer on Neural Decoding: Methods, Application, and Interpretation 2.1What is multivariate pattern analysis? 2.2The informational benefits of multivariate pattern analysis 3Why the Decoder’s Dictum Is False 3.1We don’t know what information is decoded 3.2The theoretical basis for the dictum 3.3Undermining the theoretical basis 4Objections and Replies 4.1Does anyone really believe the dictum? 4.2Good decoding is not enough 4.3Predicting behaviour is not enough 5Moving beyond the Dictum 6Conclusion. (shrink)

Very few writers have had such an impact on their culture as Alexander Solzhenitsyn on Soviet society in the ‘60s and ‘70s Recently published documents from the KGB archives show the problem he posed to the Soviet leadership—not because he was the only one to point out the massive falsehood and injustice of Soviet society but primarily due to the scathing power of his artistic diagnosis. Many of Solzhenitsyn’s writings in fictional, autobiographical, and publicistic genres can helpfully be understood in (...) terms of Plato’s struggle in the Athens of his day for a “remembering” or anamnesis of what it is to be a human being, a human society, and the cosmos as transparent for divinity. That struggle, even though Plato doesn’t use the word “amnesia”, was against the refusal to remember. The Austrian writer Heimito von Doderer called that refusal the Apperzeptionsverweigerung or refusal to perceive. Here we’ll explore Solzhenitsyn’s work in terms of his struggle to remember over against the ideological “refusal to perceive” in the three fundamental dimensions of personal, social and historical existence. Solzhenitsyn expands Mikhail Bakhtin’s understanding of “polyphonic” characterization as a key technique for articulating his diagnosis of Soviet totalitarianism. The discussion will instantiate what can be seen as his understanding of personal amnesia and anamnesis in Cancer Ward, his exploration of social amnesia and anamnesis in In the First Circle, and his treatment of historical amnesia and anamnesis in The Red Wheel and The Gulag Archipelago. (shrink)

My interest in semantic categories arises out of consideration of what is often called structural entailment. Consider the following: 1. Lisa quickly left; so Lisa left. The first of the two sentences in (1) entails the second; necessarily, if the first is true then so is the second. Moreover, (1) is an instance of a more general pattern whose validity doesn’t seem to depend on the specific meanings of the words in (1). The adverb ‘quickly’, for example, can be replaced (...) with any of a wide range of adverbs without loss of validity; analogous remarks hold for the verb ‘leave’. Here are a few more paradigm examples of structural entailment. (shrink)

As modern viewers, it is tempting to interpret Frank and Claire’s manipulations of democratic institutions as representing perversions or distortions of democratic ideals. After all, most of us think (or at least hope!) that real-world democracies we actually live in aren’t quite that badly governed. Whatever the moral faults of our leaders are, they don’t (as a rule) murder journalists, crudely provoke international crises for political gain, or cleverly set up their political adversaries with Bond-villain-like cunning. Real politicians, so the (...) story goes, lack the cleverness, the ruthlessness, and the luck of the Underwoods. While this sort of faith in the general validity of democratic ideals and institutions is now widely shared, the Underwoods’ clever “gaming” of the system can also be seen as providing an especially clear illustration of some of the things that might be inherently wrong with democracy. In this essay, I’ll take a look at how the Underwoods’ behavior might look to some of the most famous critics of democratic government, including Plato, Thomas Hobbes, and Karl Marx. According to these thinkers, the most significant flaws that Underwoods exploit to gain political power have little, if anything, to do with the peculiarity of their talents, the weaknesses of the individuals around them, or even the structures of the US political system. Instead, their success is made possible by certain fundamental features of democratic government, features that guarantee both the instability and eventual failure of any democratic government. On this reading, the fact of the Underwoods’ success presents a significant problem for all of us, since it changes the question from “How do real-world democratic politicians differ from the Underwoods?” to the much-more-difficult “What’s so great about democracy in the first place?”. (shrink)

In the 2016 film Doctor Strange, the title character undergoes a radical transition from successful neurosurgeon to highly skilled sorcerer. Unsurprisingly, he finds this transition difficult, in no small part because he thinks that sorcery seems somehow “unscientific.” Nevertheless, he eventually comes to adopt sorcery as wholeheartedly as he had embraced medicine. Some of his reasons for making this transition are personal, such as his desire to fix his injured hands and, later, to help others. Strange also displays the same (...) sorts of motivations that might drive any scientist: his intellectual curiosity drives him to understand how the Ancient One cured a paraplegic, and his desire to make a positive difference leads him to push the boundaries of sorcery. -/- This chapter will examine what Strange’s transition can teach us about the nature of scientific inquiry. More specifically, we’ll think about when it might make sense for scientists like Dr. Strange to change their approach. This will also allow us to explore what it means to practice science more generally. Some of what we learn might be surprising. For example, while it might seem obvious to us (and maybe even to Strange) that sorcery can’t count as a science, there are reasons for doubting this quick conclusion, at least in the sort of world that Dr. Strange lives in. Finally, we’ll consider what all of this means for science in our world, where things differ quite significantly. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 199-206 [Access article in PDF] Notes and FragmentsArt and Friendship Noël Carroll YASMINA REZA'S PLAY Art is about one man, Serge, who buys a painting, and the reactions of his friends, Marc and Yvan, to his purchase. 1 Marc's response is quite volcanic; for him, Serge's purchase of the painting threatens to wreck their friendship. Yvan tries to mediate the disaffection between Serge (...) and Marc, often at the cost of redirecting their hostilities at himself.As the play opens, Marc addresses the audience directly. He says: My friend Serge has bought a painting. It's a canvas about five foot by four: white. The background is white and if you screw up your eyes, you can make out some fine white diagonal lines. Serge is one of my oldest friends. He's done very well for himself, he's a dermatologist and he's keen on art. On Monday, I went to see the painting; Serge had actually got hold of it on the Saturday, but he's been lusting after it for several months. This white painting with white lines. 2This prelude explicitly connects the two major themes of the play—art and friendship (Serge is one of Marc's oldest friends), and the relation thereof. After this brief exposition, then, there is a flashback to the scene where Marc first sees Serge's painting, a painting by Antrios, a famous artist. At first Marc reacts warily, tentatively, but, in almost no time at all, he denounces the painting as shit, despite its whiteness. Marc tries to pass off his vituperation as humor and invites Serge to [End Page 199] laugh along with him. But Serge finds nothing funny about the situation, which deteriorates throughout the play as everyone's nerves fray and angers mount.The action of the play raises an immediate question. Why is Marc's reaction to the painting by Antrios so intense, so violent? Why would a painting endanger a friendship? Why do Marc and Serge seem to be willing to split apart after fifteen years over a matter of taste? Can't they just agree to disagree and leave it at that?But Marc, at least, cannot. He says, "It's a complete mystery to me, Serge buying this painting. It's unsettled me, it's filled me with some undefinable unease." And that undefinable unease is enough to motivate Marc to attack Serge and Yvan savagely to the point where the friendship among them seems no longer possible. But what is the nature of this undefinable unease and what does its existence tell us about the relation of art to friendship?Marc and Serge obviously see the painting very differently. Marc keeps referring to the Antrios as white, prompting Serge to correct him—pointing out that it has diagonals as well as bits of various other colors in it. Perhaps this is author Yasmina Reza's way of signaling that Serge, so to speak, sees something in the painting—sees that there's something to it—whereas for Marc, it's a blank, it's empty, it's nothing, it's worthless. Marc continues to be amazed that Serge has paid two hundred thousand francs for the painting. But it's not the money, as such, that bothers Marc; it is what the money symbolizes: that Serge sees something worthy in that which Marc finds worthless. And this threatens their friendship. Why?One of the earliest conceptions of friendship in Western thought is Aristotle's notion of what he calls the friendship of character or character friendship. This is not the only type of friendship there is—there are also friendships based on such things as expediency—but, for Aristotle, character friendship is the highest sort. This is the type of friendship that obtains between equals—people of equal virtue and excellence.Now you might think that people who are virtuous and excellent already should have little need of friends. They already have it all. 3 But Aristotle suggests that without friends—friends who are... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art, Mind, and IntentionNoël CarrollArt and Intention: A Philosophical Study, by Paisley Livingston ; 266 pp. oxford: oxford University Press, 2005, $74.00, $35.00 paper.The relevance of intention to the philosophy of art was perhaps first made explicit by G.W.F. Hegel who, in his monumental The Philosophy of Fine Art, narrowed the domain of aesthetics to art on the grounds that the beauty that pertains to art is the product (...) of mind. Though Hegel does not single out intention as the aspect of mind that impresses him, his definition of fine art in terms of that which possesses an aim that imbues the pertinent art with content makes it probable that what he is talking about is intention. Since Hegel's day, but maybe most especially in the last three decades, philosophers of art have relied upon the notion of intention to attempt to solve many of the recurring problems of their field, including not only issues involving art status, but those involving authorship, interpretation, and fictional truth, among others. In Art and Intention: A Philosophical Study, Paisley Livingston has performed the very valuable service of corralling a substantial number of topics regarding the intersection of art and intention between the covers of one book.Although there are books devoted to exploring the relation of art and intention with respect to specific topics, most notably interpretation, there is, to my knowledge, no other book like Livingston's that surveys such a diversity of issues concerning the nexus of intention and the [End Page 394] philosophy of art. Thus, Art and Intention should be a welcome addition to the library of any aesthetician.Art and Intention comprises seven chapters. The first chapter, reasonably enough, involves a discussion of what it is to be an intention. For Livingston, who follows the action theorist Alfred Mele quite closely, an intention standardly consists of a propositional attitude in addition to a propositional content toward which said attitude is directed. The propositional attitude is executive in nature—that is, where x is the content, the intender is firmly settled upon or committed to perform x, or, at least, to try to perform x. The propositional content of an intention, in turn, is what Livingston calls a plan. An intention then is an executive attitude towards plans.I am a bit unhappy with this formulation, since I worry that it may be somewhat misleading. To my ear, the word plan insinuates the idea of a formulated method, whereas many intentional actions, including those of artists, are scarcely worked out beforehand but emerge instead in the heat of doing things. Livingston is aware of this and appears to require no more of plans in his sense than that they involve at least a rudimentary grasp of the means for carrying off the purposes at hand. This seems right to me, but it still strikes me as strained to call this sort of procedural knowledge a plan.When Jasper Johns denies that he plans to make a picture in a certain way, but rather only follows a thought that pulls in a certain direction, he does not mean to disagree with Livingston, though his choice of words seems at odds with Livingston's.1 For Johns's, like many others, plan means a precise formulation, whereas for the action theorist it is a technical term of art with broader signification. Nevertheless, since the word still retains its ordinary meaning, the possibility for confusion here is rife. So, perhaps another word can be found or, maybe, coined.Chapter 2 concerns intention and the creation of art. Livingston spends the first part of the chapter fending off counterexamples, like automatic writing, that might be adduced to challenge the claim that artworks require intentions. I am very sympathetic with his treatment of the examples he canvasses. However, I would be curious to hear what he would say about a case that I've heard described of a show at MOMA several decades back where images culled from surveillance cameras, operating automatically, were exhibited.2 These specific images were not produced intentionally by anyone. But aren't they art? Perhaps the curators will be assigned the... (shrink)