One effect of information technology is the increasing need to present information visually. The trend raises intriguing questions. What is the logical status of reasoning that employs visualization? What are the cognitive advantages and pitfalls of this reasoning? What kinds of tools can be developed to aid in the use of visual representation? This newest volume on the Studies in Logic and Computation series addresses the logical aspects of the visualization of information. The authors of these specially commissioned papers explore (...) the properties of diagrams, charts, and maps, and their use in problem solving and teaching basic reasoning skills. As computers make visual representations more commonplace, it is important for professionals, researchers and students in computer science, philosophy, and logic to develop an understanding of these tools; this book can clarify the relationship between visuals and information. (shrink)

A collection of exceptionally clever and funny diagrams that break down life's everyday foibles from the creator of the popular Instagram feed @instachaaz. Charles Hutton is the voice behind "Insta-Chaz." Hundreds of thousands follow his very witty takes on the highs and lows of daily life via graphs, charts, and simple illustrations on the ubiquitous yellow, rectangular Post-it note. All his observations are from the point of view of his online alter-ego, Chaz, whose most popular traits with readers are his (...) social awkwardness, vague insecurity, dislike of office Mondays, and regret for boozy Sundays. But his riffs go beyond Dilbert-esque complaints about co-workers and unfortunate alcohol consumption and accurately hit nerves and funny bones regarding a broad range of life's quotidian struggles. It's all there, from the anxiety levels of forgetting names at parties (only slightly less stressful than that of air traffic controllers) to charting the cycles of hope, despair, and willful forgetfulness while using Tinder to the infrequent occurrence of the perfect avocado. Divided into quirky meditations on Work, Home, Entertainment, Food & Drink, and Technology, the book introduces a fresh, appealing new voice that will resonate with countless others who can't help but laugh when they recognize themselves in infographic form. (shrink)

In den letzten Jahren hat das theoretische und praktische Interesse an Diagrammen stark zugenommen. Kultur- und Bildwissenschaft, Philosophie, Medientheorie, Gestaltung und Kognitionsforschung sind gleichermaßen am epistemischen Gebrauch diagrammatischer Bild- und Denkformen interessiert. Bislang gibt es jedoch keine gemeinsame Lektürebasis, die die Diskussionen zu diesem Thema bündelt. In Form einer Anthologie bietet dieser Reader klassische und innovative Schlüsseltexte zur Diagrammatik aus unterschiedlichen Perspektiven an. Diese enthält Texte zu theoretischen, praktischen und historischen Dimensionen des Denkens und Darstellens mit und von Diagrammen seit (...) der griechischen Antike. Ein kommentierter Bildteil veranschaulicht die reiche Geschichte der Diagrammatik anhand konkreter Beispiele. (shrink)

This volume investigates the use of diagrams for the purposes of information. Using key scenes from Euclidian geometry and late medieval physics, it shows how diagrams interconnect space and rules, logic and epistemic surplus, double-meanings and precision, in such a way as to generate new insights. For the first time, the study integrates previously scattered notions into a systematic whole.

Der aktuelle Diskurs um Diagramme wird nicht zuletzt durch den rasanten konjunkturellen Aufschwung von Schaubildern in der Kunst geprägt. Dieses Buch stellt die Frage nach den historischen Voraussetzungen, die hinter dem großen Interesse an diagrammatischen Formen des Visualisierens und Argumentierens stehen. In facettenreichen Fallstudien und theoretischen Analysen wird das diagrammatische Potenzial für die bildgeleitete Erkenntnis aus unterschiedlichen Perspektiven untersucht. Der Band lotet damit nicht zuletzt auch die Zukunftsträchtigkeit der Diagrammatologie als eigenständiges bildwissenschaftliches Forschungsfeld aus.

First published in 1921, and originally intended as a textbook for students entering secondary school, this book gives an overview of the human and physical geography of the occupied areas of the earth's surface. The text is richly illustrated with diagrams, tables, and contemporary photographs of places of interest. This book will be of value to anyone with an interest in the history of education.

In this paper, I will introduce you to a new theory of mental representation, emphasizing two important features. First, the theory coheres very well with folk psychology; better, I believe, than its competitors (e.g. Cummins, 1996; Dretske, 1988; Fodor, 1987 and Millikan, 1989, with which it has the most in common), though I will do little by way of direct comparison in this paper. Second, it receives support from current neuroscience. While other theories may be consistent with current neuroscience, none (...) that I know of actually receives some degree of confirmation from it. There are many different kinds of representations. Some examples are maps, words, meter and gauge readings, diagrams, pictures, scale models, computer simulations, blueprints, charts, musical notation, smoke signals, semaphore, and computer data structures. Qua representations, they all possess intentionality, or aboutness: maps are about places, most words are about the entities they refer to, meters and gauges are about the quantities they measure, etc. However, it seems they have little in common beyond this aboutness (Millikan, 1984, p. 85). Therefore we should be open to the possibility that the aboutness of different representations is ultimately to be explained in different ways. It is becoming increasingly popular to understand the aboutness of a large class of these representations in terms of function.1 For example, a tire gauge represents one of the properties that it indicates or carries information about, namely air pressure. However, it also carries information about other quantities. If the pressure and volume of the tire are kept constant, the tire gauge will indicate the temperature of the air inside the tire, and if the temperature and pressure are kept constant, the gauge will indicate the tire volume. However, although the tire gauge indicates these things, it does not represent them. It only.. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Preface: Variations of Archiving the Anarchive Through Editorial Witnessing by April Vannini “a diagram is a map, or rather several superimposed maps.” 1 What do we do with essays, art, artefacts, and practices that go against, resist, challenge and reject archival capture or documentation since they do not fit within the screen or manage to move beyond conventional scales? What do we do with an essay or artefact that is the event of the event becoming-event itself, or how do we move from volumetric space to two-dimensional space? How do editors, curators, participants, etc. become witness to an anarchive? And most importantly, what are the potential and unanticipated ways in which a volumetric submission can be diagrammed within a two- dimensional space? In short, how do we archive the anarchive? These are questions that have emerged and have been consciously and purposely activated by Sean Smith’s thinkpiece for this issue, The Garage (Take One) . Sean, as part of his contribution to the special issue of drift within the thread in between space and place , created an artefact that emerged out of an event held during May 2013, titled Cottage University: Topology and Immanence . The visual documentation of The Garage (Take One) is not an archive but an anarchive due to its multimodal form, non-representational diagramming, and its reactivation of non-representational folding which animates its non-representational or more-than -representational condition. In short, The Garage (Take One) stymies attempts to be translated into digital text, representationally. As a reader of Sean’s submission you will only have access to a portion of the original submitted contribution (see “Take One”). At this time, I remain the only witness of The Garage (Take One) in its entirety: I was present at the original event, Cottage University: Topology and Immanence , and I was the sole receiver of the original package because of my role as editor for the thread, in between space and place . However, I would like to stress that I was unaware of what Sean would submit as his contribution to the special issue. What is presented here is an emergent rippling of the event that was not predetermined or arranged in advance ... a drifting of sorts! As for now, the artefact sits here on my desk next to a pile of books—folded, creased and somewhat lost in its translation into digital form. Questions of transcribing, translating and converting volumetric space to two-dimensional space have been considered throughout this process. And more importantly this artefact and its processes raise the issue of not what has been saved and included but what has been left out in each conversion of the original into the academic publication. What follows this preface are various “cuts” or “takes” from The Garage: Take One . Each take or cut is merely an interpretive and representational rendering of the original volumetric submission. Although with that said I would like to propose they are more than just representations or interpretations: each take or cut works as rippling variations of the event itself . It is important to acknowledge that much has been lost in the creases and much still lingers which will never be archived within an academic journal. Hence, a discussion of how to archive the anarchive is so crucial to para-academic “scholarship”. I will sum up the process that has emerged from The Garage (Take One) with a final word from Brian Massumi, written in his foreword to Deleuze and Guattari’s A Thousand Plateaus : Each 'plateau' is an orchestration of crashing bricks extracted from a variety of disciplinary edifices. They carry traces of their former emplacement, which give them a spin defining the arc of their vector. The vectors are meant to converge at a volatile juncture, but one that is sustained, as an open equilibrium of moving parts each with its own trajectory. The word 'plateau' comes from an essay by Gregory Bateson on Balinese culture, in which he found a libidinal economy quite different from the West's orgasmic orientation. In Deleuze and Guattari, a plateau is reached when circumstances combine to bring an activity to a pitch of intensity that is not automatically dissipated in a climax. The heightening of energies is sustained long enough to leave a kind of afterimage of its dynamism that can be reactivated or injected into other activities, creating a fabric of intensive states between which any number of connecting routes could exist. 2 The Garage (Take One) Double Take 2:31pm/5:31pm Sean Smith You there? I just wanted to emphasize a couple of things about the process of the submission: 2:31pm/5:31pm April Warn-Vannini Yes, listening. 2:36pm/5:36pm Sean Smith 1.When you describe feeding forward from the CU (Cottage University) event, it is a WALKING ACTIVITY that reinvests/reactivates the intensive energies of the event. that is what my photos are in Take One......it connects the intensive state of CU to my "one-take" writing on construction paper experience. i'm not sure if i adequately conveyed that or not, or if you did, or how important that is. 2. In doing so, it ruptures open the "space" and "place" of material practice ...and how these may enter into the mediated production of academic journal work...and its flattened two-dimensional experience. 3. the abstract machines of CU (i.e.coming out of silence) are invested with a new diagramming practice (the photo walk) to produce a new text that is neither-nor: "spaced" as a content of that walk (garages), but "placed" as a technical question (coming out of silence to language). 4. the new text is precisely diagrammatic, non-representational, anarchival. ....multimodal. ok, that's all that comes to mind right now. appreciating your efforts. 5. oh, finally, i think you might need a better definition of "anarchive" here..... it was hard to pin them down in montreal on what this is, so you wouldn't be wrong, per se, but more require a working definition for the reader. obviously, as you say, without getting too academic/citations, etc. know what i am saying? 2:46pm/5:46pm April Warn-Vannini 1. Totally got it but I think I did because of our many past conversations about how to archive the event 2. Yes this is what I love about this. And I think you speak to this very carefully in your writing on the Garage. Now whether others pick up on this I don't know. This is why I wanted to see what it would look like if I flattened it (take 3). 5. I agree that a better definition is needed. This is where I've been stumbling because I have not found anything that clearly defines what is meant by anarchive. 2:47pm/5:47pm Sean Smith "with take one being the only remainder of the original submission left to reveal...." precisely because of its digitality!!! yeah, i would probably just append an edited version of what we are saying here, as if the editing process was still a ripple of the event. me "adding" new text later i think defeats the purpose, but if you were to take snippets of this dialogue as part of the anarachive/ 2:48pm/5:48pm April Warn-Vannini Totally! 2:49pm/5:49pm Sean Smith and just *use them*, i think that's fair game. that way i won't be crafting my words with intent. you can even use this profile pic. 2:50pm/5:50pm April Warn-Vannini Okay perfect. With that said, do you think I should just discuss your process further in the preface or include an introduction that would be in take one? 2:51pm/5:51pm Sean Smith could it be Take Two in its own right, like an atemporal ripple that coexists with the others and bumps them to Three, Four and Five? Or could it be called "Double Take" and leave the others as Two, Three, Four? 2:53pm/5:53pm April Warn-Vannini Perfect. I like double take 2:53pm/5:53pm Sean Smith and it's us hashing through this discussion 2:53pm/5:53pm April Warn-Vannini Double take will follow take one. i like this. The Garage (Take Two) Folded, taped (scotch and duct), folded recycled chart paper previous emergent thoughts: performed, inscribed and made anew Red jiffy, black jiffy, blue ink pen cursive writing/block writing diagramming amplification dilated » » » » directional arrows « « « « Moistened, torn, crinkled Ruptures Anarchive of thought events Deciphering language/writing Exchanged as a volumetrics of new spaces Performing tactics of “writing off the page” on the page Enclosed [OPEN THE DOORS, MOVE FROM SURFACE TO VOLUME…AND THE CONVERSATION JUST MIGHT BEGIN ANEW. *stamped* SEAN SMITH] Drifting Drifting Drifting The Garage (Take Three) 6 Sean Smith video from April Vannini on Vimeo . The Garage (Take Four) The Garage (Take Five). (shrink)

It has become common to find diagrams and flow-charts used in our organizations to illustrate the nature of processes, what is involved and how it happens, or to show how parts of the organization interrelate to each other and work together. Such diagrams are used as they are thought to help visualization and simplify things in order to represent the essence of a particular situation, the core features. In this paper, using a social semiotic approach, we show that we need (...) to develop a much more critical sense of how these diagrams and flowcharts can easily abstract, conceal and substitute actual causalities, work roles and relationships. We demonstrate this using the example of a series of interrelated flows-charts used to implement a new system of target-based learning in preschool/kindergartens in Sweden – a system which works highly in favor of a rapidly privatizing education sector. Here, the flow charts shape how school processes and learning are presented to devalue the former system and value the new. (shrink)

In his Berlin Lectures of the 1820s, the German philosopher Arthur Schopenhauer (1788–1860) used spatial logic diagrams for philosophy of language. These logic diagrams were applied to many areas of semantics and pragmatics, such as theories of concept formation, concept development, translation theory, clarification of conceptual disputes, etc. In this paper we first introduce the basic principles of Schopenhauer’s philosophy of language and his diagrammatic method. Since Schopenhauer often gives little information about how the individual diagrams are to be understood, (...) we then make the attempt to reconstruct, specify and further develop one diagram type for the field of conceptual analysis. (shrink)

In his Berlin Lectures of the 1820s, the German philosopher Arthur Schopenhauer (1788–1860) used spatial logic diagrams for philosophy of language. These logic diagrams were applied to many areas of semantics and pragmatics, such as theories of concept formation, concept development, translation theory, clarification of conceptual disputes, etc. In this paper we first introduce the basic principles of Schopenhauer’s philosophy of language and his diagrammatic method. Since Schopenhauer often gives little information about how the individual diagrams are to be understood, (...) we then make the attempt to reconstruct, specify and further develop one diagram type for the field of conceptual analysis. (shrink)

In recent years, a number of authors have started studying Aristotelian diagrams containing metalogical notions, such as tautology, contradiction, satisfiability, contingency, strong and weak interpretations of contrariety, etc. The present paper is a contribution to this line of research, and its main aims are both to extend and to deepen our understanding of metalogical diagrams. As for extensions, we not only study several metalogical decorations of larger and less widely known Aristotelian diagrams, but also consider metalogical decorations of another type (...) of logical diagrams, viz. duality diagrams. At a more fundamental level, we present a unifying perspective which sheds new light on the connections between new and existing metalogical diagrams, as well as between object- and metalogical diagrams. Overall, the paper studies two types of logical diagrams and four kinds of metalogical decorations. (shrink)

On 4 January 1971, Ti-Grace Atkinson delivered a talk entitled ‘Strategy and Tactics: A Presentation of Political Lesbianism’. The talk was later published in her collected essays, Amazon Odyssey. The essay contains thirty-five diagrams: ten ‘Strategy Charts’, three ‘Tactical Charts’ and twenty-two ‘Tactical-Strategy Charts’, which map a strategy of the ‘Oppressor’ (men) and the tactics that the ‘Oppressed’ (women) might develop to lead to a revolution – lesbians, significantly, are the ‘Buffer Zone’ between these two classes. In the only reference (...) I have managed to find to these diagrams, they are referred to as ‘crazy’. This article re-visits these diagrams, exploring the role of the diagram in how Atkinson attempts to map patriarchal relations and also imagine a feminist revolution. Taking Atkinson’s diagrams as a starting point, the article then uses them to begin to narrate a genealogy of the diagram in feminist theory, exploring a diagrammatic imaginary that is an often-used but rarely discussed tactic in feminist writing. Finally, the article opens out to consider how this history of feminist diagrams might be a precursor to more contemporary feminist data visualisations. (shrink)

In this article, the diagram is used to chart the movement from Deleuze's transcendental empiricism and engagement with structuralism in the 1960s to Deleuze and Guattari's ethico-aesthetic constructivism of the 1970s and 1980s. This is shown to culminate in a biopolitical critique and decoding of philosophy, which is part of the unfolding of a transdisciplinary research programme where art is seen to come ontologically ahead of philosophy.

In relatively recent years, quite a number of diverse case studies concerning the use of visual displays—such as graphs, diagrams, tables, pictures, drawings, etc.—in both the physical and biological sciences have been offered in the literature of the history and philosophy of science —see, e.g., Miller 1984; Lynch and Woolgar 1990; Baigrie 1996; Pauwels 2006. These case studies have shown that visual representations fulfill important functions in both the theoretical and experimental practices of science, thereby emphasizing the non-verbal dimension of (...) scientific inquiry that had been neglected by the traditional language-based conception of science, which takes the production, justification and... (shrink)

A generation before Beardsley, legal scholar John Henry Wigmore invented a scheme for representing arguments in a tree diagram, aimed to help advocates analyze the proof of facts at trial. In this essay, I describe Wigmore's "Chart Method" and trace its origin and influence. Wigmore, I argue, contributes to contemporary theory in two ways. His rhetorical approach to diagramming provides a novel perspective on problems about the theory of reasoning, premise adequacy, and dialectical obligations. Further, he advances a novel solution (...) to the problem of assessing argument quality by representing the strength of argument in meeting objections. (shrink)

In _Life-Destroying Diagrams_, Eugenie Brinkema brings the insights of her radical formalism to bear on supremely risky terrain: the ethical extremes of horror and love. Through close readings of works of film, literature, and philosophy, she explores how diagrams, grids, charts, lists, abecedaria, toroids, tempos, patterns, colors, negative space, lengths, increments, and thresholds attest to formal logics of torture and cruelty, violence and finitude, friendship and eros, debt and care. Beginning with a wholesale rethinking of the affect of horror, orienting (...) it away from entrenched models of feeling toward impersonal schemes and structures, Brinkema moves outward to consider the relation between objects and affects, humiliation and metaphysics, genre and the general, bodily destruction and aesthetic generation, geometry and scenography, hatred and value, love and measurement, and, ultimately, the tensions, hazards, and speculative promise of formalism itself. Replete with etymological meditations, performative typography, and lyrical digressions, _Life-Destroying Diagrams_ is at once a model of reading without guarantee and a series of generative experiments in the writing of aesthetic theory. (shrink)

Sociologists, philosophers and historians of science are gradually recognizing the importance of visual representation. This is part of a more general movement away from a theory-centric view of science and towards an interest in practical aspects of observation and experimentation. Rather than treating science as a matter of demonstrating the logical connection between theoretical and empirical statements, an increasing number of investigations are examining how scientists compose and use diagrams, graphs, photographs, micrographs, maps, charts, and related visual displays. This paper (...) focuses on diagrams in biology, and tries to demonstrate how diagrams are an integral part of the production of scientific knowledge. In order to disclose some of the distinctive practical and analytical uses of diagrams, the paper contrasts the way diagrams and photographs are used in biological texts. Both diagrams and photographs are shown to be “constructions” that separately and together mediate the investigation of scientific phenoman. (shrink)

In summary, the usual elements of a typical health care ethics consultation note might reasonably accommodate the needs and expectations of relevant parties, and would therefore include: 1. identification of the relevant ethical issues, questions, or dilemmas; 2. reference to any relevant facts--medical, nursing, social, psychological, spiritual, legal, political, etc.; 3. a prioritized list of recommendations to improve coordinated care; 4. a clear and concise articulation of relevant arguments, wtih specific reference to the list of recommendations as well as to (...) the institution's overall ethos; 5. a contextual statement, identifying the perceived degree of consensus or support for the recommendations and conclusions, as well as any inherent agendas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Readymades, Monochromes, Etc.:Nominalism and the Paradox of ModernismJ. M. Bernstein (bio)If Schopenhauer's thesis of art as an image of the world once over bears a kernel of truth, then it does so only insofar as this second world is composed out of elements that have been transposed out of the empirical world in accord with Jewish descriptions of the messianic order as an order just like the habitual order (...) but changed in the slightest degree.—T. W. Adorno, Aesthetic TheoryAdorno's philosophy as a whole, and his aesthetic theory in particular, is irrevocably bound to the tradition and achievements of high modernism. Although Adorno himself did not recognize American Abstract Expression as the apotheosis of high modernism in painting, that judgment now hardly seems contentious.1 And that raises a problem: it is the problem of R. Mutt, again, the problem of the porcelain urinal called Fountain, which was refused admittance to the Society of Independent Artists' Exhibition in April 1917 in spite of the Society's proclaimed democratic slogan "No jury, no prizes"—the work whose life or after-life begins with the beautiful photograph of it by Stieglitz set against the background of Marsden Hartley's The Warriors and that appeared shortly thereafter in the new avant-garde journal The Blind Man. Whatever the immediate repercussions of Fountain, there can be little doubt that much of what is most vital in art in the second half of this century is unthinkable without it; Duchamp's readymade offers an exemplary alternative to the tradition of high modernist painting that has continued to be generative. For a modernist like Adorno, for whom authentic art is that which best rises to the demands and necessities of artistic materials, for whom internal consistency and rigor would appear to be everything, for whom, finally, aesthetic form is the "objective organization within each artwork of what appears as bindingly eloquent" [AT 143; emphasis mine], Duchamp's gesture of simply naming or claiming artistic status for an ordinary bathroom fixture must be anathema. In this respect, Adorno's aesthetic theory would seem to be in the same predicament as Clement Greenberg's modernism: inextricably bound to a tradition that history has left behind. And while the option of refuting the claim of Fountain is certainly possible, and should not be too quickly suppressed (there is something in the claim that will forever be skeptically self-defeating), nonetheless there does appear to be an exemplariness to Fountain that exceeds the narrow provocation of Duchamp's nominalist gesture; something in the readymade, in fact, seems (art historically? aesthetically? conceptually?) irresistible. If so, then modernist [End Page 83] formalism must either find a way of accommodating the readymade without departing from its internal logic or find its claim to our attention forfeited.After laying out the bold outlines of Adorno's formalism, the remainder of this essay will seek to uncover an account of the readymade in the context of what I will eventually call "the paradox of modernism" in order to locate in what way the readymade can be accommodated to a defense of Adorno's late modernism. For the purposes of this argument, I am going to assume that the best overall defense of Duchamp's gesture, which makes it foundational for the understanding of modern art, is that offered by Thierry de Duve in his Kant after Duchamp. My elaboration of Adorno's late modernism will hence proceed, in part, through a charting of some of the fault lines in de Duve's Duchamp. My contention shall be that the generativity of Fountain as readymade not only belongs within modernism, but is only intelligible within a wholly modernist and formalist frame of reference.Adorno's Formalism and the Material MotiveAdorno opens the section of Aesthetic Theory entitled "Coherence and Meaning" with the drastic sounding thesis that "Although artworks are neither conceptual nor judgmental, they are logical" [AT 136]. He continues:In them nothing would be enigmatic if their immanent logicality did not accommodate discursive thought, which criteria they nevertheless regularly disappoint. They most resemble the form of a syllogism and its prototype in empirical thought. That in the temporal... (shrink)

You ask if metaphysics is possible after modernity, or after Barth and Wittgenstein and Derrida and the critique of foundationalism? May I invite you, by way of response, to listen in on a conversation? It is a dialogue between what I will call a postcritical philosopher ("P") and a postcritical scriptural theologian —— I'll label the latter a "textualist" ("T"). What I mean by "postcritical" would be displayed as the pattern of inquiry traced by this dialogue. I take the term (...) "postcritical" from George Lindbeck, whose theological work is described by his commentators as more properly "textualist" rather than "philosophic." I believe my usage is, however, true to Lindbeck's discourse. This means that one of the arguments of this essay is that there is a mode of philosophic inquiry proper to the postcritical orientation in theology that we may associate with such Christian theologians as Hans Frei, etc., as well as Lindbeck. A second argument, offered indirectly, is that there is a family of Jewish thinkers whose work may also be labeled "postcritical" on the model of these Christian thinkers, and that this Jewish postcritical theology would also be displayed in dialogues between philosophic and textualist tendencies. A third argument is that, if we listen in on the philosophic side of any of these dialogues, we will hear a postcritical philosophy. By philosophy, I mean primarily logic, defined as an inquiry that examines problematic rules of reasoning and recommends testable ways of correcting them. Secondarily, philosophy includes metaphysics, defined as an inquiry that, for the sake of assuring people about the reliability of a given logic, constructs pictures of the world whose existence would warrant this logic. We need not assume either that logic and metaphysics can be conducted only in the manner of modern and scholastic foundationalism, or that non-foundationalist theology must be "textualist" in a manner that excludes any philosophic generalization. I will argue that there are, indeed, non-foundationalist ways of conceiving of both logical and metaphysical inquiry and that these ways contribute to the dialogic activity of postcritical inquiry. (shrink)

Visual representations (photographs, diagrams, etc.) play crucial roles in scientific processes. They help, for example, to communicate research results and hypotheses to scientific peers as well as to the lay audience. In genuine research activities they are used as evidence or as surrogates for research objects which are otherwise cognitively inaccessible. Despite their important functional roles in scientific practices, philosophers of science have more or less neglected visual representations in their analyses of epistemic methods and tools of reasoning in science. (...) This book is meant to fill this gap. It presents a detailed investigation into central conceptual issues and into the epistemology of visual representations in science. (shrink)

In the last two decades there has been renewed interest in visualization in logic and mathematics. Visualization is usually understood in different ways but for the purposes of this article I will take a rather broad conception of visualization to include both visualization by means of mental images as well as visualizations by means of computer generated images or images drawn on paper, e.g. diagrams etc. These different types of visualization can differ substantially but I am interested in offering a (...) characterization of visualization that is as broad as possible. The article describes and explains (1) the way in which visual thinking fell into disrepute, (2) the renaissance of visual thinking in mathematics over recent decades, (3) the ways in which visual thinking has been rehabilitated in epistemology of mathematics and logic. (shrink)

Recent work in the philosophy of science has generated an apparent conflict between theories attempting to explicate the nature of scientific representation. On one side, there are what one might call 'informational' views, which emphasize objective relations (such as similarity, isomorphism, and homomorphism) between representations (theories, models, simulations, diagrams, etc.) and their target systems. On the other side, there are what one might call 'functional' views, which emphasize cognitive activities performed in connection with these targets, such as interpretation and inference. (...) The main sources of the impression of conflict here are arguments by some functionalists to the effect that informational theories are flawed: it is suggested that relations typically championed by informational theories are neither necessary nor sufficient for scientific representation, and that any theory excluding functions is inadequate. In this paper I critically examine these arguments, and contend that, as it turns out, informational and functional theories are importantly complementary. (shrink)

This pioneering study by Sister Prudence Allen traces the concept of woman in relation to man in more than seventy philosophers from ancient and medieval traditions. The fruit of ten years' work, this study uncovers four general categories of questions asked by philosophers for two thousand years. These are the categories of opposites, of generation, of wisdom, and of virtue. Sister Prudence Allen traces several recurring strands of sexual and gender identity within this period. Ultimately, she shows the paradoxical influence (...) of Aristotle on the question of woman and on a philosophical understanding of sexual coomplemenarity. Supplemented throughout with helpful charts, diagrams, and illustrations, this volume will be an important resource for scholars and students in the fields of women's studies, philosophy, history, theology, literary studies, and political science. (shrink)

"Moves step by step from basic concepts to categorical and truth-functional logic, inductive reasoning, and informal fallacies. Includes sample problems, explanatory charts, diagrams, and exercises"--Cover.

The rapid development of physics, the result of observations made and ideas introduced within the last few decades, has brought about a change in the whole system of physical concepts. This fact is common knowledge, and has already attracted the attention of philosophers. It is less well known that geometry too has had its crises, and undergone a reconstruction. For centuries, so-called “geometrical intuition” was used as a method of proof. In geometrical demonstrations, certain steps were allowed because they were (...) “self-evident,” because the correctness of the conclusion was “shown by the adjoined diagram,” etc. A crisis occurred in geometry because such intuition proved to be untrustworthy. Many of the propositions regarded as self-evident or based upon the consideration of diagrams turned out to be false. And so Euclidean geometry was reconstructed by methods free from all intuitive elements and strictly logical in nature. Moreover, for more than a century, various other geometries have been devised purely as logical constructions. Since they start with assumptions different from those of Euclid, and lead to conclusions partly in contradiction with his theorems, they are called “non-Euclidean.” Nevertheless, each one of these geometries is a closed system of propositions exempt from contradiction. Recently, some of them have even found application in physics. (shrink)

To the student familiar with the dialogues this book offers a fresh, wide, and daring perspective on Plato; to the scholar it offers a welcome alternative to dogmatic views. Concentrating on the interplay between Plato's life, work, and times, Brumbaugh sees three stages in the dialogues: 1) the early commitment to philosophy as shared inquiry, 2) a mature and systematic vision, 3) criticism and application of the system. The dialogues make sense if they are interpreted self-referentially; that is, the characters, (...) action, and aesthetic wholeness of the dialogues "concretize" their philosophical or theoretical import. With handy charts, diagrams, and an annotated bibliography, the return to Plato is made easier--and more adventurous.--A. B. (shrink)

Peerages and baronetages were successful commercial directories sold by a number of prominent London booksellers from the beginning of the 18th century. They provided an account of most titled families (peers as well as baronets). As serial publications, they were intended for a larger public in need of identification tools in a context of expanding urban sociability and of major recomposition within the elites. In these pocket books, there were no longer the elaborate tree diagrams that had ornamented most of (...) the visitation books of the College of Arms, and which still could be found among ancient family papers. This transition was required for technical, commercial, and also ideological reasons. The selling point for publishers was to provide an up-to-date account of the ‘modern’ families, which could be better achieved through alphabetical listings, biographical discourses, or tabular charts. However, this formal reconfiguration led to many criticisms. These family directories were accused of compromising the dignity of titled families. The idea of a lost Golden Age when ancient lineages had been exhibited on stone, wooden panels, or vellum regained some appeal among social commentators. After 1760, with the renewal of radicalism and the onset of the age of revolutions, tree thinking came to be rehabilitated, but was also reinvented to better defend and naturalise social hierarchies. In this context, trees were increasingly used as powerful national emblems and less as dynastic emblems. The changing fortunes of family trees in 18th-century British prints enable us to reflect on the ideological aspects of the visualisation of kinship. (shrink)

The aim of this chapter is to develop a semantics for Calculus CL. CL is a diagrammatic calculus based on a logic machine presented by Johann Christian Lange in 1714, which combines features of Euler-, Venn-type, tree diagrams, squares of oppositions etc. In this chapter, it is argued that a Boolean account of formal ontology in CL helps to deal with logical oppositions and inferences of extended syllogistics. The result is a combination of Lange’s diagrams with an algebraic semantics of (...) terms: Bit-CL, in which any ordered objects are identified by characteristic bitstrings. Then, a number of objections to Bit-CL are answered to, and the process of inference is explained in this new logical framework. (shrink)

This book charts the historical development of 'forensic objectivity' through an analysis of the ways in which objective knowledge of crimes, crime scenes, crime materials and criminals is achieved. Taking an interdisciplinary approach, with authors drawn from law, history, sociology and science and technology studies, this work shows how forensic objectivity is constructed through detailed crime history case studies, mainly in relation to murder, set in Scotland, England, Germany, Sweden, USA and Ireland. Starting from the mid-nineteenth century and continuing to (...) the present day, the book argues that a number of developments were crucial. These include: the beginning of crime photography, the use of diagrams and models specially constructed for the courtroom so jurors could be ‘virtual witnesses’, probabilistic models of certainty, the professionalization of medical and scientific expert witnesses and their networks, ways of measuring, recording and developing criminal records and the role of the media, particularly newspapers in reporting on crime, criminals and legal proceedings and their part in the shaping of public opinion on crime. This essential title demonstrates the ways in which forensic objectivity has become a central concept in relation to criminal justice over a period spanning 170 years. (shrink)

This book examines the logical foundations of visual information: information presented in the form of diagrams, graphs, charts, tables, and maps. The importance of visual information is clear from its frequent presence in everyday reasoning and communication, and also in compution. Chapters of the book develop the logics of familiar systems of diagrams such as Venn diagrams and Euler circles. Other chapters develop the logic of higraphs, Pierce diagrams, and a system having both diagrams and sentences among its well-formed representations. (...) Syntax, semantics, rules of inference and soundness and completeness results are provided for each of the systems. In addition to developing the logic of diagrams, key questions about the status of visual information Hammer discusses, such as the relationship between the language and visually-presented information. (shrink)

" Biosemantics " was the title of a paper on mental representation originally printed in The Journal of Philosophy in 1989. It contained a much abbreviated version of the work on mental representation in Language Thought and Other Biological Categories. There I had presented a naturalist theory of intentional signs generally, including linguistic representations, graphs, charts and diagrams, road sign symbols, animal communications, the "chemical signals" that regulate the function of glands, and so forth. But the term " biosemantics " (...) has usually been applied only to the theory of mental representation. Let me first characterize a more general class of theories called "teleological theories of mental content" of which biosemantics is an example. Then I will discuss the details that distinguish biosemantics from other naturalistic teleological theories. (shrink)

Now with Venn Diagrams, expanded Extended Examples (nice work, Robert), and the latest trends in Rhetoric, post-truth etc. (nice work, Tracy).

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

Objectivity has a history, and it is full of surprises. In Objectivity, Lorraine Daston and Peter Galison chart the emergence of objectivity in the mid-nineteenth-century sciences--and show how the concept differs from its alternatives, truth-to-nature and trained judgment. This is a story of lofty epistemic ideals fused with workaday practices in the making of scientific images. From the eighteenth through the early twenty-first centuries, the images that reveal the deepest commitments of the empirical sciences--from anatomy to crystallography--are those featured in (...) scientific atlases, the compendia that teach practitioners what is worth looking at and how to look at it. Galison and Daston use atlas images to uncover a hidden history of scientific objectivity and its rivals. Whether an atlas maker idealizes an image to capture the essentials in the name of truth-to-nature or refuses to erase even the most incidental detail in the name of objectivity or highlights patterns in the name of trained judgment is a decision enforced by an ethos as well as by an epistemology. As Daston and Galison argue, atlases shape the subjects as well as the objects of science. To pursue objectivity--or truth-to-nature or trained judgment--is simultaneously to cultivate a distinctive scientific self wherein knowing and knower converge. Moreover, the very point at which they visibly converge is in the very act of seeing not as a separate individual but as a member of a particular scientific community. Embedded in the atlas image, therefore, are the traces of consequential choices about knowledge, persona, and collective sight. Objectivity is a book addressed to anyone interested in the elusive and crucial notion of objectivity-- and in what it means to peer into the world scientifically. Lorraine Daston is Director at the Max Planck Institute for the History of Science in Berlin, Germany. She is the coauthor of Wonders and the Order of Nature, 1150-1750 and the editor of Things That Talk: Object Lessons from Art and Science. Peter Galison is Pellegrino University Professor of the History of Science and of Physics at Harvard University. He is the author of Einstein's Clocks, Poincaré's Maps: Empires of Time, How Experiments End, and Image and Logic: A Material Culture of Microphysics, and other books, and coeditor of The Architecture of Science. (shrink)

Most of us create and use a panoply of non-sentential representations throughout our ordinary lives: we regularly use maps to navigate, charts to keep track of complex patterns of data, and diagrams to visualize logical and causal relations among states of affairs. But philosophers typically pay little attention to such representations, focusing almost exclusively on language instead. In particular, when theorizing about the mind, many philosophers assume that there is a very tight mapping between language and thought. Some analyze utterances (...) as the outer vocalizations of inner thoughts (e.g. Grice 1957, Devitt 2005), while others treat thought as a form of inner speech (e.g. Sellars 1956/1997, Carruthers 2002). But even philosophers who take no stand on the relative priority of language and thought still tend to individuate mental states in terms of the sentences we use to ascribe them. Indeed, Dummett (1993) claims that it is constitutive of analytic philosophy that it approaches the mind by way of language. In many ways, this linguistic model is salutary. Our thoughts are often intimately intertwined with their linguistic expression, and public language does provide a comparatively tractable proxy for, and a window into, the messier realm of thought. However, an exclusive focus on thought as it is expressed in language threatens to leave other sorts of thought unexplained, or even to blind us to their possibility. In particular, many cognitive ethologists and psychologists find it useful to talk about humans, chimpanzees, birds, rats, and even bees as employing cognitive maps. We need to make sense of this way of talking about minds as well as more familiar sentential descriptions. In what follows, I investigate the theoretical and practical possibility of non-sentential thought. Ultimately, I am most interested in the contours of distinctively human thought: what forms does human thought take, and how do those different forms interact? How does human thought compare with that of other animals? In this essay, however, I focus on a narrower and more basic theoretical question: could thought occur in maps? Many philosophers are convinced that in some important sense, thought per se must be language-like.. (shrink)

We represent the world in a variety of ways: through percepts, concepts, propositional attitudes, words, numerals, recordings, musical scores, photographs, diagrams, mimetic paintings, etc. Some of these representations are mental. It is customary for philosophers to distinguish two main kinds of mental representations: perceptual representation (e.g., vision, auditory, tactile) and conceptual representation. This essay presupposes a version of this dichotomy and explores the way in which a further kind of representation – procedural representation – represents. It is argued that, in (...) some important respects, procedural representations represent differently from both purely conceptual representations and purely perceptual representations. Although procedural representations, just like conceptual and perceptual representations, involve modes of presentation, their modes of presentation are distinctively practical, in a sense which I will clarify. It is argued that an understanding of this sort of practical representation has important consequences for the debate on the nature of know-how. (shrink)

Features include a comprehensive review of existing material, combined with new perspectives to equip students for the challenges in the work environment; chapter overviews and student learning objectives offer a solid and useful framework in which to organise study; diagrams and charts present overviews and contexts for the subject to act as useful revision aids; effective pedagogy including a review of the arguments considered, a menu of seminar topics, and questions in every chapter, serving as an ideal basis for seminar (...) study; and additional open-ended simulations to allow students to work through unfolding scenarios. (shrink)

In this paper, we have developed an Excel package to be utilized for calculating neutrosophic data and analyze them. The use of object oriented programming techniques and concepts as they may apply to the design and development a new framework to implement neutrosophic data operations, the c# programming language, NET Framework and Microsoft Visual Studio are used to implement the neutrosophic classes. We have used Excel as it is a powerful tool that is widely accepted and used for statistical analysis. (...) Figure 1 shows Class Diagram of the implemented package. Figure 2 presents a working example of the package interface calculating the complement. Our implemented Neutrosophic package can calculate Intersection, Union, and Complement of the nuetrosophic set. Figure 3 presents our neutrosphic package capability to draw figures of presented neutrosphic set. Figure 4 presents charting of Union operation calculation, and figure 5 Intersection Operation. nuetrosophic set are characterized by its efficiency as it takes into consideration the three data items: True, Intermediate, and False. (shrink)

In an overview of the essays in this project, a number of clinical ethics issues receive emphasis. (1) One cluster concerns the ethical concerns presented within the relationship between the providers (doctor, nurse, etc.) and patient (and family), as distinct from those associated with being a clinical ethics consultant invited into a situation to assist. (2) Distinct from these are ethical issues intrinsic to the ways in which clinical encounters are variously written about (from chart notes to published articles). (3) (...) Finally, there is a set of issues connected with the major characteristics of clinical encounters, in view of which it is imperative to be specifically attentive to the fine details and complex interactions among patient, doctor, family, and others, within a specific social context. Keeping these matters in mind helps to clarify the differences between consulting (talking and listening) and writing about consultations, as well as among the various kinds of writing about clinical encounters. (shrink)

In modern philosophy acquires relevance a problem of confrontation of linguistic and visual practices of philosophical knowledge. Since Antiquity, ways of contemplation are formed as ways of recognition characterized as “ocularcentrism”. In the historical and philosophical prospective “sight” and “vision” are metaphors of thinking. They are considered as internal contemplation, and as a means of establishing human cognitive abilities. It is shown that technology and models of representation in Western culture of thinking are based on practices that appeal to “visualization”. (...) The create a “videological matrix” and make certain common stratagems of visual discourse like metaphors, diagrams, representation, etc. The article emphasizes that “the ocular dictionary” of philosophy represents a wide range of options for visual metaphors that occupy an important place in a number of key philosophical concepts. On the one hand, there are metaphors that appeal to visual perception, visual experience. But on the other hand there is a traditional interpretation of philosophical activity through the prism of visual metaphors. These includes a metaphor of vision, metaphor of light, metaphor of mirror and others. The author highlights a metaphor of vision as a key metaphor of philosophical activity, in which the philosopher is a spectator, contemplating the truth, just as the spectator of a play, sport event or religious mysteries. In antiquity this kind of contemplation was a specific activity, called “theory”. Contemporary studies show that a term “theory” can establish an association between theory as specific activity in social life and a theory as a specific activity of a philosopher. Philosophical theory is an act of “contemplation”, as evidenced by the writings of Plato and Aristotle. “Theory” was also associated with a certain contemplative work, public instruction, pilgrimage. The “theory” was the action, which took place in three steps: leaving home, contemplation, returning home. A contemplation was in the center of theory as an activity. Consequently, the philosophical theory, the article says, is born with cultural practices, the origins of which are located primarily in the social life of ancient Greek. Thus, contemplation as a “theory” is understood as the process of getting information about images, ideas which is transformed into something new in the processes if intellectual activity. Consequently, the visibility immanently contained in the philosophy and describes the philosophical activity, as a way of philosophical research and is associated with philosophical thinking. Activity of a philosopher in the contest of contemplation is essentially a “metaphor of vision”, which acts as a certain type of philosophical activity. (shrink)

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

The "tree of life" iconography, representing the history of life, dates from at least the latter half of the 18th century, but evolution as the mechanism providing this bifurcating history of life did not appear until the early 19th century. There was also a shift from the straight line, scala naturae view of change in nature to a more bifurcating or tree-like view. Throughout the 19th century authors presented tree-like diagrams, some regarding the Deity as the mechanism of change while (...) others argued for evolution. Straight-line or anagenetic evolution and bifurcating or cladogenetic evolution are known in biology today, but are often misrepresented in popular culture, especially with anagenesis being confounded with scala naturae. Although well known in the mid 19th century, the geologist Edward Hitchcock has been forgotten as an early, if not the first author to publish a paleontologically based "tree of life" beginning in 1840 in the first edition of his popular general geology text Elementary Geology. At least 31 editions were published and those between 1840 and 1859 had this "paleontological chart" showing two trees, one for fossil and living plants and another for animals set within a context of geological time. Although the chart did not vary in later editions, the text explaining the chart did change to reflect newer ideas in paleontology and geology. Whereas Lamarck, Chambers, Bronn, Darwin, and Haeckel saw some form of transmutation as the mechanism that created their "trees of life," Hitchcock, like his contemporaries Agassiz and Miller, who also produced "trees of life," saw a deity as the agent of change. Through each edition of his book Hitchcock denounced the newer transmutationist hypotheses of Lamarck, then Chambers, and finally Darwin in an 1860 edition that no longer presented his tree-like "paleontological chart.". (shrink)

Some Carrollian posthumous manuscripts reveal, in addition to his famous ‘logical diagrams’, two mysterious ‘logical charts’. The first chart, a strange network making out of fourteen logical sentences a large 2D ‘triangle’ containing three smaller ones, has been shown equivalent—modulo the rediscovery of a fourth smaller triangle implicit in Carroll's global picture—to a 3D tetrahedron, the four triangular faces of which are the 3+1 Carrollian complex triangles. As it happens, such an until now very mysterious 3D logical shape—slightly deformed—has been (...) rediscovered, independently from Carroll and much later, by a logician , a mathematician and a linguist studying the geometry of the ‘opposition relations’, that is, the mathematical generalisations of the ‘logical square’. We show that inside what is called equivalently ‘n-opposition theory’, ‘oppositional geometry’ or ‘logical geometry’, Carroll's first chart corresponds exactly, duly reshap.. (shrink)

This declaration ponders the impacts of Joule warm, separation, and warming radiation for the progression of MHD Sutterby nanofluid past over an all-inclusive chamber. The wonder of warmth and mass conduction is demonstrated under warm conductivity relying upon temperature and dispersion coefficients individually. Besides, the conventional Fourier and Fick laws have been applied in the outflows of warm and mass transport. The control model comprising of a progression of coupled incomplete differential conditions is changed over into a standard arrangement of (...) nonlinear coupled differential conditions by reasonable likeness changes. The subsequent arrangement of articulations is systematically treated through an ideal homotopic method. The impacts of various dimensionless stream boundaries on the speed, temperature, and focus fields are delineated through diagrams. The range of some parameters involved is assumed for the convergent solution as 0 < R e < 10, 0 < P r < 6.5, 0 < E c < 40, 0 < R d < 1.5, 0 < S 1 < 0.5, 0 < S 2 < 0.5, 0 < L e < 0.5, 0 < N t < 2.5, and 0 < N b < 2.0. The patterns of skin friction coefficient, local Nusselt, and Sherwood numbers are examined via bar charts. The principle consequence of the proposed study is that the decay of the speed for the Sutterby liquid boundary, the deterioration of the variable warm conductivity, the temperature, and the radiation increase the framework temperature. The delineation boundaries show the opposite conduct for the temperature and fixation outskirts layers. (shrink)

When originally published in 1952, this book filled a gap in the history of philosophy and science and remains an important work today, because it puts the main mathematical and physical discoveries of Descartes in an accessible form, for the benefit of English readers. Descartes is acknowledged to be the founder of modern mathematics, through his invention of analytical geometry and this volume charts Descartes’ role in bringing a unity into algebra and geometry and the development of mathematics into a (...) discipline which could be properly analysed. Carefully paraphrasing the Géométrie, this volume retains much of Descartes’ original notation as well as the original diagrams. The volume also discusses the considerable contribution that Descartes made to the physical sciences which involved accurate work in optics, light, sight and colour. (shrink)