Both the concept of a Darwinian tree of life (TOL) and the possibility of its accurate reconstruction have been much criticized. Criticisms mostly revolve around the extensive occurrence of lateral gene transfer (LGT), instances of uptake of complete organisms to become organelles (with the associated subsequent gene transfer to the nucleus), as well as the implications of more subtle aspects of the biological species concept. Here we argue that none of these criticisms are sufficient to abandon the valuable TOL concept (...) and the biological realities it captures. Especially important is the need to conceptually distinguish between organismal trees and gene trees, which necessitates incorporating insights of widely occurring LGT into modern evolutionary theory. We demonstrate that all criticisms, while based on important new findings, do not invalidate the TOL. After considering the implications of these new insights, we find that the contours of evolution are best represented by a TOL. (shrink)

Mental capacities for perceiving, remembering, thinking, and planning involve the processing of structured mental representations. A compositional semantics of such representations would explain how the content of any given representation is determined by the contents of its constituents and their mode of combination. While many have argued that semantic theories of mental representations would have broad value for understanding the mind, there have been few attempts to develop such theories in a systematic and empirically constrained way. This paper contributes to (...) that end by developing a semantics for a ‘fragment’ of our mental representational system: the visual system’s representations of the bounding contours of objects. At least three distinct kinds of composition are involved in such representations: ‘concatenation’, ‘feature composition’, and ‘contour composition’. I sketch the constraints on and semantics of each of these. This account has three principal payoffs. First, it models a working framework for compositionally ascribing structure and content to perceptual representations, while highlighting core kinds of evidence that bear on such ascriptions. Second, it shows how a compositional semantics of perception can be compatible with holistic, or Gestalt, phenomena, which are often taken to show that the whole percept is ‘other than the sum of its parts’. Finally, the account illuminates the format of a key type of perceptual representation, bringing out the ways in which contour representations exhibit domain-specific form of the sort that is typical of structured icons such as diagrams and maps, in contrast to typical discursive representations of logic and language. (shrink)

This is the first chapter to our edited collection of essays on the nature and ethics of blame. In this chapter we introduce the reader to contemporary discussions about blame and its relationship to other issues (e.g. free will and moral responsibility), and we situate the essays in this volume with respect to those discussions.

The original essays in this book address Harry Frankfurt's influential writing on personal identity, love, value, moral responsibility, and the freedom and ...

Necessarily, if S lacks the ability to exercise control, S is not an agent. If S is not an agent, S cannot act intentionally, responsibly, or rationally, nor can S possess or exercise free will. In spite of the obvious importance of control, however, no general account of control exists. In this paper I reflect on the nature of control itself. I develop accounts of control ’s exercise and control ’s possession that illuminate what it is for degrees of control (...) —that is, the degree of control an agent possesses or exercises in a given circumstance—to vary. Finally, I demonstrate the usefulness of the account on offer by showing how it generates a solution to a long-standing problem for causalist theories of action, namely, the problem of deviant causation. (shrink)

I explore the idea of language reaching its limits by distinguishing two kinds of limits language may have: The first are “Boundaries” which lie on the edges of language, and distinguish what makes sense from what does not. These, I claim, are suitable in making theoretical generalizations. The second are “Contours,” which lie within language, and allow for contrasting and comparing meanings and shades of meanings that we capture in language. These are more suitable for characterizations of particulars, and (...) for literary use. I claim that failure to draw this distinction is responsible for confusions in Sabina Lovibond’s and Richard Rorty’s views of moral thought and language. (shrink)

Does language limit the moral thoughts we can have? To answer that, I distinguish between two kinds of limits: Boundaries or barriers fence things out. Identification and erection of linguistic barriers, defines, diagnoses, or places restrictions on what language can in principle grasp or be, and often involves abstraction from actual linguistic behavior. This is typically preformed by remarks I call ‘theses’; Contours or outlines give real-life portrayals. Drawing the contours of a linguistic activity involves a certain attention (...) to reality: to detail and particularity, and we typically draw contours by using remarks I call ‘helpers’. I examine the possibility that confusion can be diagnosed in Sabina Lovibond's attempt to apply the idea that moral language has necessary boundaries, and explain the alternative of drawing linguistic contours. I then examine Richard Rorty's position according to which the fact that we can shape our language indicates that the boundaries of language do not encompass all possible sense, and compare Rorty's discussion with Sarah Bachelard's discussion of euthanasia. My claim here is that trying to improve on the language we have might be part of drawing its contours, rather than redefining its boundaries. The discussion reveals a difference between two kinds of contour drawing, and thus between two kinds of helpers: ones that help to draw the contours of the actuality of linguistic activities, and ones that help to draw the contours of their potentiality. Finally, I argue that the value of drawing contours instead of barriers is that the former better reveal the fact that we care about our ways of making sense. (shrink)

This article introduces an experimental paradigm to selectively probe the multiple levels of visual processing that influence the formation of object contours, perceptual boundaries, and illusory contours. The experiments test the assumption that, to integrate contour information across space and contrast sign, a spatially short-range filtering process that is sensitive to contrast polarity inputs to a spatially long-range grouping process that pools signals from opposite contrast polarities. The stimuli consisted of thin subthreshold lines, flashed upon gaps between collinear (...) inducers which potentially enable the formation of illusory contours. The subthreshold lines were composed of one or more segments with opposite contrast polarities. The polarity nearest to the inducers was varied to differentially excite the short-range filtering process. The experimental results are consistent with neurophysiological evidence for cortical mechanisms of contour processing and with the Boundary Contour System model, which identifies the short-range filtering process with cortical simple cells, and the long-range grouping process with cortical bipole cells. (shrink)

In this paper, I will argue that Locke is a substance dualist in the general sense, in that he holds that there are, independent of our classificatory schema, two distinct kinds of substances: wholly material ones and wholly immaterial ones. On Locke’s view, the difference between the two lies in whether they are solid or not, thereby differentiating him from Descartes. My way of establishing Locke as a general substance dualist is to be as minimally committal as possible at the (...) outset, especially with respect to the classic debates on Locke’s positions in this domain, including those concerning substrata, real essences, and the like. Nonetheless, I show that minimal commitments about Locke’s primary/secondary quality distinction are sufficient to derive some substantive conclusions about his positions on these issues, as well as that he is a general substance dualist. (shrink)

This article contemplates symbols and values inscribed on Cairo’s landscape during the 2011 revolution and the period since, focusing on Tahrir Square and the role of the Egyptian flag in street discourses there. I start by briefly pondering how intertwined popular narratives readied the square and flag as emblems of dissent. Next I examine how these appropriations shaped protests in the square, and how military authorities who retook control in 2013 re-coopted the square and flag, with the reabsorption of each (...) critical to that of the other and executed in the same place: Tahrir. Pro-military factions have created the pretense that they were for the revolution by altering the square and structures around it. Furthermore, the square has remained open to the public, but ceased to be inviting. This relates to post-revolutionary alterations that psychologically repel entry. I consider these changes in light of affordance theory, value sensitive design research and especially the defensible space model, arguing that Tahrir Square has been symbolically cordoned and closed. (shrink)

This book proposes an approach to Eurocentrism as a paradigm of knowledge production and interpretation rooted in the Western narrative of modernity and its racial governmentalities. It contributes to the critique of the contemporary workings of Eurocentrism and racism that have frustrated the struggles for the decolonization of knowledge and continue to shape our understandings of the world order in racially hierarchical terms, by re-centering the West/Europe"--Provided by publisher.

There are several Africas; the continent does not have a single homogeneous reality. Instead we should talk of shifting territorialities. The crucial questions, when thinking about emergent humanisms, have to do with the exegesis of the political, and at its heart democracy, citizenship and the management of violence, which obstinately appears as a constant in the political experience in Africa. It operates as one of the political idioms at the very moment when democracy is becoming essential as a universal, unavoidable (...) reference. The African state seems unable any longer to guarantee its citizens’ security. The human body is becoming an integral part of the territories where conflict is occurring. What is being challenged is the sovereignty of the state, which means that the symbolic construction of a people transforming the state into a nation state is no longer possible. So how can we imagine a space for interaction where collective issues are put up for discussion? The case of Côte d’Ivoire, the reform of the Family Code in Senegal, and the tragedy in Rwanda are examined. The author wishes to follow the perspective set out by Wiredu, the principle of compassionate impartiality, the principle on which moral universality is based and built up. (shrink)

Foucault has spoken recently of the profound disruption in the domain of knowledge at every level of contemporary theory. “From the beginning of this century psychoanalytic, linguistic and ethnographic research has ousted the subject from the laws of his desires, from the forms of his speech, from the rules of his actions and from the systems of his mythical discourses.” It has become increasingly more important to deal with the thrust of these developments at the level of theory, not under (...) the rubric of some “structuralist” ideology, but as to their true content and meaning. The obstruction until now has been its lack of a “history”. (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

This article discusses the reasons why illusory contours are likely to result from adaptive perceptual mechanisms that have evolved across species to promote behavioral success.

Book Information Contours of Agency: Essays on Themes from Harry Frankfurt. Edited by Sarah Buss and Lee Overton. MIT Press. Cambridge MA. 2002. Pp. 381.

The Islamization of Syria, a multi-faceted social and cultural process not limited to demography, was slow and highly variable across different locales. This article analyzes geographical works—ten in Arabic, one in Persian, and one in Hebrew— as well as the earliest Ottoman defters of the province to outline the process of Islamization in Syria from the Islamic conquest in the seventh century to the Ottoman conquest in the sixteenth. Geographical texts cannot be mined as databases, but when interpreted as literature (...) they provide often detailed information regarding the foundation of mosques, the slow conversion of multi-religious shrines, and areas within Syria known for particular religious affiliations. (shrink)

This essay aims to demonstrate how attention to black political thought might expand and complicate our understanding of modern politics and the conceptualization of the political in contemporary political theory, and in modern politics more generally. Black political thought can be viewed as the attempt to develop a set of critical tools to help explain the political distinctiveness of black life-worlds and how this distinctiveness is structured by a series of relations between individual and community, self and other, state and (...) society, citizen and non-citizen, and national and multinational (or global) circumstances. Too often, black politics is exclusively considered as a form of minority group politics and phenomena reducible to empirical investigation and observation, rather than a set of practices with underlying conceptual, theoretical, and epistemological premises. If we understand race as a fundamentally relational concept, namely, an assumption of dynamic interaction between two or more putatively distinct groups, and racism as a political phenomena that is conditioned and articulated through politics, then taken together they provide the opportunity for reflection and consideration of how black peoples and subjects have conceptualized, created and engaged in politics, political communities, and their articulation. Race and racism, the modalities of political participation and, conversely, the modalities of political exclusion have been recurrent themes in black political thought. The distinctiveness of black political thought is symptomatic of the distinctive trajectories of black politics, which first emerged from spaces of exclusion in Western polities and colonies. The histories of black political and social movements provide evidence of the ways in which black subordination in Western societies and polities required the reconfiguration of the actual boundaries between the public and private, the political and the social. Race and racism, the distinction between identity and identification, black solidarities, and the relationship between history, context, and politics and the political are themes central to black political thought. (shrink)

Heidegger’s thinking should not be labelled rationalist or irrationalist. Because the definitions of rationality and irrationality, which can be seen as derived from Descartes’ or Cartesian philosophy, are deconstructed by Heidegger. The movement of this deconstruction is twofold: at the same time it is a thinking retrieval of the ontologico-historical origin of (Western) thought. The retrieval results in Heidegger’s notion of temporalising Being. This ‘notion’ can also be seen as informed by Nietzsche’s ‘will to power’ and, in turn, to inform (...) its understanding or interpretation itself. (shrink)

덕인식론과 지행론의 전체적인 구도를 이해하기 위한 선행 과제로서 나는 이 글에서 德과 관련한 개념들 가운데 역량과 성품이 지적 덕성과 어떤 연관에 놓여 있는지 정리하고자 한다. 애초 이 글은 똑똑하다고 칭찬받는 사람들이 왜 나쁜 일들을 스스럼없이 저지르는가에 대한 소박한 의문에서 출발한다. 이런 의문은 윤리적인 문제일 수도, 인식론적인 주제일 수도 있다. 왜냐하면 무엇을 어떻게 인식할 것인가라는 인식론적인 질문은 결국 인식론이 규범적인 영역에 속하며 인식론적인 평가에서 지적인 행위자와 그 공동체를 중시해야 한다는 것을 의미하기 때문이다. 이것은 ‘덕인식론’의 핵심적인 관점이다. 지식의 정당화에 있어서 덕인식론이 ‘덕성’에 (...) 초점을 맞추고 있다는 점은 동아시아 전통의 ‘지행론’과 닮았지만 그 문제의식은 다르다. 따라서 덕인식론과 지행론의 같고 다른 점을 우선 살펴보고 『논어』를 중심으로 역량, 성품, 지적 덕성의 관계를 검토할 것이다. 이 작업에서 나는 역량과 성품이 규범적인 가치의 문맥으로 조율되지 않으면 올바른 행위를 산출하는 지적 덕성이 되기에 부족함을 말할 것이다. (shrink)

This chapter is concerned with an analysis of the etymology of the English term “will,” which is used to emphasize some possible sedimented assumptions with its meaning in English-speaking European and North American academic communities. It takes a look at two general philosophical approaches to the will and examines the will in early modern social theory. From here the chapter turns to anthropology to study two of the most generative approaches to willing in modern culture theory: practice theoretical and psychocultural (...) variants of anthropology. Finally, the chapter discusses the preceding chapters in terms of the four different themes that recur throughout the book. (shrink)

This review essay provides a critical analysis of the book ‘The Great Tech Game,’ authored by Anirudh Suri. For the analysis, other literature published in a similar area is considered and pitched the arguments against the ones made in the book. During the year this book was released, there were numerous debates on accountability and trust in frontier digital technologies like AI. These debates have reached a systemic level where the entire global community is divided into two camps headed by (...) the US and China in drafting rules and regulations for the internet and allied technologies. A critical comment on a well-circulated book would add clarity to the debates on the impacts of frontier digital technologies. This review contributes to the critical voices of the emerging scholarship on the confluence of digital technology and global politics. This review essay is intended to serve as an academic comment on the published work. (shrink)

I outline what I call a relational account of toleration. This relational account helps explain the apparent paradox of toleration in that it involves two competing moral stances, of acceptance and disapproval, towards the tolerated. It also helps clarify the way toleration is a normative ideal, and not a position one is forced into out of the practical need to accommodate or accept. Specifically, toleration is recommended out of respect for that which the tolerant agent also disapproves of. This combination (...) of respect entangled with disapproval results from two different evaluative perspectives of the tolerant agent. The relational account explains how an agent can hold these competing evaluative perspectives. I also discuss the proper scope of state toleration under this relational account. (shrink)

Morally contoured empathy is a form of reasonable partiality essential to the healthy care of dependents. It is critical as an epistemic aid in determining proper moral responsiveness; it is also, within certain richly normative roles and relationships, itself a crucial constitutive mode of moral connection. Yet the achievement of empathy is no easy feat. Patterns of incuriosity imperil connection, impeding empathic engagement; inappropriate empathic engagement, on the other hand, can result in self-effacement. Impartial moral principles and constraints offer at (...) best meager protection against these perils, and hence serve poorly in securing morally contoured empathy. More nuanced and practical guidance should be sought in normatively substantive conceptions of our roles and relationships and their defining moral stakes. These, joined with more abstract moral tools, can facilitate rich, narratively textured interpretations of moralitys demands. While the content of our normative conceptions must be continually debated, engaging in this debate is vital to the achievement of proper empathy, and thus to effective, respectful, morally healthy care of dependents. (shrink)