Krueger & Funder (K&F) correctly identify work on conformity, obedience, bystander (non)intervention, and social cognition as among social psychology's most memorable contributions, but they incorrectly portray that work as stemming from a “negative research orientation.” Instead, the work they cite stimulates compassion for the human actor by revealing the enormous complexity involved in deciding what to think and do in difficult, uncertain situations.

Discussions of the relationship between perception and cognition often proceed without a definition of these terms. The sensory-modality specific nature of low-level perceptual processes provides a means of distinguishing them from cognitive processes. A more explicit definition of terms provides insight into the nature of the evidence that can resolve questions about the relationship between perception and cognition.

A study is reported which focused on the problem-solving strategies employed by expert electronics engineers pursuing a real-world task: integrated-circuit design. Verbal protocol data were analysed so as to reveal aspects of the organisation and sequencing of ongoing design activity. These analyses indicated that the designers were implementing a highly systematic solution-development strategy which deviated only a small degree from a normatively optimal top-down and breadth-first method. Although some of the observed deviation could be described as opportunistic in nature, much (...) of it reflected the rapid depth-first exploration of tentative solution ideas. We argue that switches from a predominantly breadth-first mode of problem solving to depth-first or opportunistic modes may be an important aspect of the expert's strategic knowledge about how to conduct the design process effectively when faced with difficulties, uncertainties, and design impasses. (shrink)

Mature rats were kept on protein-deficient diets to test the hypothesis that late-onset protein restriction results in deficits and to determine the feasibility of doing nutrition-behavior research with old naive animals. A 3% low-protein (LP) group and a 24% adequate-protein (AP) pair-fed control were used. Body weights and plasma protein concentrations were lower and exploratory behavior and motor coordination were poorer for LP rats. Both groups preferred the 24% protein diet. LP rats habituated slower and failed to overcome an initial (...) black preference on an oddity discrimination learning task. Nutrition-behavioral research with older rats is feasible, and late-onset protein restriction produces psychobiological deficits. (shrink)

The Planteome project provides a suite of reference and species-specific ontologies for plants and annotations to genes and phenotypes. Ontologies serve as common standards for semantic integration of a large and growing corpus of plant genomics, phenomics and genetics data. The reference ontologies include the Plant Ontology, Plant Trait Ontology, and the Plant Experimental Conditions Ontology developed by the Planteome project, along with the Gene Ontology, Chemical Entities of Biological Interest, Phenotype and Attribute Ontology, and others. The project also provides (...) access to species-specific Crop Ontologies developed by various plant breeding and research communities from around the world. We provide integrated data on plant traits, phenotypes, and gene function and expression from 95 plant taxa, annotated with reference ontology terms. (shrink)

I describe how relativistic field theory generalizes the paradigm property of material systems, the possession of mass, to the requirement that they have a mass–energy–momentum density tensor T µ associated with them. I argue that T µ does not represent an intrinsic property of matter. For it will become evident that the definition of T µ depends on the metric field g µ in a variety of ways. Accordingly, since g µ represents the geometry of spacetime itself, the properties of (...) mass, stress, energy, and momentum should not be seen as intrinsic properties of matter, but as relational properties that material systems have only in virtue of their relation to spacetime structure. (shrink)

The problem of motion in general relativity is about how exactly the gravitational field equations, the Einstein equations, are related to the equations of motion of material bodies subject to gravitational fields. This article compares two approaches to derive the geodesic motion of matter from the field equations: the ‘T approach’ and the ‘vacuum approach’. The latter approach has been dismissed by philosophers of physics because it apparently represents material bodies by singularities. I argue that a careful interpretation of the (...) approach shows that it does not depend on introducing singularities at all and that it holds at least as much promise as the T approach. (shrink)

Recent years have seen the rise of ‘Just Culture’ as an ideal in the patient safety movement, with numerous hospitals and professional organisations adopting a Just Culture response to incidents ranging from non-culpable human error to intentional misconduct. This paper argues that there is a deep problem with the Just Culture model, resulting from its impoverished understanding of the value of punitive, fundamentally backward-looking, practices of holding people accountable. I show that the kind of ‘accountability’ and ‘punishment’ contemporary Just Culture (...) advocates endorse disrespects both patients and providers. I claim, first, that punishment is good because it respects participants in the healthcare system by restoring an equilibrium of social and moral status that wrongdoing disturbs, and, second, that it only does so when it communicates a backward-looking message of resentful blame. (shrink)

This paper extends several themes from recent work on norms of assertion. It does as much by applying those themes to the speech act of asking. In particular, it argues for the view that there is a species of asking which is governed by a certain norm, a norm to the effect that one should ask a question only if one doesn’t know its answer.

No man can live without ideas, for every human action, internal or external, is of necessity enacted by virtue of certain ideas. In these ideas a man believes; they guide his actions, and ultimately his whole life. Study of these ideas and principles is one of the distinctive tasks of the history of philosophy. But were we to restrict the field of interest of the history of philosophy to a mere detached academic "cataloguing" of past ideas, the history of philosophy (...) itself would have joined long ago the interminable line of barren catalogued ideas. The study of the wisdom of past ages, however, is very much alive. Not only is it alive, but in the words ot Wilhelm Dilthey: "What man is, he learns through history. "l Thus, the culture of every generation is inevitably related, whether thetically or antithetically, to the previous one, and the politi cal and economic struggles of any present are always the consequences of an earlier and perhaps even fiercer battle of ideas. I t is imperative to know the history of the philosophies that nourish the present if we wish to know ourselves and the world about us. The Socratic call to self-knowledge is as indispensable a condition of a truly human existence today as it was in the fifth century B. C. (shrink)

The aim of the present research was to develop a difficulty model for logical reasoning problems involving complex ordered arrays used in the Graduate Record Examination. The approach used involved breaking down the problems into their basic cognitive elements such as the complexity of the rules used, the number of mental models required to represent the problem, and question type. Weightings for these different elements were derived from two experimental studies and from the reasoning literature. Based on these weights, difficulty (...) models were developed which were then tested against new data. The models had excellent predictive validity and showed the relative influence of rule based factors and factors relating to the number of underlying models. Different difficulty models were needed for different question types, suggesting that people used a variety of approaches and, at a wider level, that both mental models and mental rules may be used in reasoning. (shrink)

Social distancing during the COVID-19 pandemic has presented millions of people with extraordinary challenges that are associated with significant amounts of stress. Emotion regulation is crucial during this crisis as people seek to mitigate the stress and uncertainty of the present moment. In this study, we surveyed a nationally representative sample of 297 adults from the United States on their levels of perceived stress related to the COVID-19 pandemic as well as their level of engagement of different emotion regulation strategies (...) during the pandemic. We performed multiple linear regression analyses to assess which regulation strategies were associated with individual differences in perceived stress. Among all emotion regulation strategies, psychological distancing, which involves thinking about stressful circumstances in an objective, impartial way, was uniquely associated with reductions in perceived stress due to COVID-19 across individuals. This effect was not moderated by age, gender, socioeconomic status, race/ethnicity, or trait-related difficulty in regulating emotion. Conversely, situation modification was associated with significantly greater perceived stress overall. These results suggest the broad applicability and utility of psychological distancing during pandemic-related social distancing as part of an adaptive emotion regulation toolkit and motivate the investigation of interventions involving psychological distancing in this context. (shrink)

'Holographic' relations between theories have become a main theme in quantum gravity research. These relations entail that a theory without gravity is equivalent to a gravitational theory with an extra spatial dimension. The idea of holography was first proposed in 1993 by Gerard 't Hooft on the basis of his studies of evaporating black holes. Soon afterwards the holographic 'AdS/CFT' duality was introduced, which since has been heavily studied in the string theory community and beyond. Recently, Erik Verlinde has proposed (...) that even Newton's law of gravitation can be related holographically to the thermodynamics of information on screens. We discuss inter-theoretical relations in these scenarios: what is the status of the holographic relation in them and in what sense is gravity, or spacetime, emergent? (shrink)

"A work of major importance for the interpretation of Descartes's development and for the understanding of the function of the imagination in Descartes's early works. Descartes's Imagination will be a must in Descartes and imagination studies. It is long overdue."--Eva T. H. Brann, author of The World of Imagination: Sum and Substance "A significant contribution to our understanding of the development of Descartes's philosophy."--William R. Shea, author of The Magic of Numbers and Motion: The Scientific Career of Rene Descartes.

They say that argumentative writing skills are best learned through writing argumentative essays. I say that while this is excellent practice for argumentative writing, an important exercise to practice structuring such essays and build critical thinking skills simultaneously is what I call the four-sentence paper. The exercise has the template They say..., I say..., one might object..., I reply... One might object that the assignment oversimplifies argumentative writing, stifles creativity, promotes an adversarial attitude, or that students can’t consider objections well (...) anyway. I reply that a simplified form of argumentative writing is fine for beginners, especially since the template is ubiquitous in philosophy; that any assignment template has room for creativity; that considering objections is consistent with good manners; and that despite some pitfalls of trying to defend a thesis and consider objections, students are capable of considering objections well with proper instruction and practice. (shrink)

Suppose for reductio that I know a proposition of the form <p and I don’t know p>. Then by the factivity of knowledge and the distribution of knowledge over conjunction, I both know and do not know p ; which is impossible. Propositions of the form <p and I don’t know p> are therefore unknowable. Their particular kind of unknowability has been widely discussed and applied to such issues as the realism debate. It hasn’t been much applied to theories of (...) the nature of knowledge. That is what I’m going to do here. (shrink)

Buffed up to a metallic shine; loose fitting, lopsided, or kludgy; getting in the way or getting lost; collapsing in an explosion of dust caught on the warehouse CCTV. Modern things are going their own ways, and this book attempts to follow them. A course of thought about their comings and goings and cascading side effects, _The Way Things Go_ offers a thesis demonstrated via a century-long countdown of stuff. Modernist critical theory and aesthetic method, it argues, are bound up (...) with the inhuman fate of things as novelty becoming waste. Things are seldom at rest. Far more often they are going their own ways, entering and exiting our zones of attention, interest, and affection. Aaron Jaffe is concerned less with a humanist story of such things—offering anthropomorphizing narratives about recouping the items we use—as he is with the seemingly inscrutable, inhuman capacities of things for coarticulation and coherence. He examines the tension between this inscrutability on the one hand, and the ways things seem ready-made for understanding on the other hand, by means of exposition, thing-and-word-play, conceptual art, essayism, autopoesis, and prop comedy. Among other novelties and detritus, T_he Way Things Go_ delves into books, can openers, roller skates, fat, felt, soap, joy buzzers, hobbyhorses, felt erasers, sleds, magic rabbits, and urinals. But it stands apart from the recent flood of thing-talk, rebuking the romantic tendencies caught up in the pathetic nature of debris defining the conversation. Jaffe demonstrates that literary criticism is the one mode of analysis that can unpack the many things that, at first glance, seem so nonliterary. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Birth of The Birth of TragedyDennis SweetIntroductionNietzsche’s first book, The Birth of Tragedy, is ostensibly an account of the psychological motives behind the creation and modifications of Greek drama, but it is really much more than this. It is the author’s first attempt to understand the dynamic processes of human creativity in general—a concern that would occupy him throughout his career. When we look at his own estimation (...) of the value of his first book, however, we see that he maintained something of a love-hate relationship to it. In the second edition, published in 1886, Nietzsche included a prefatory “Attempt at a Self-Criticism,” in which he castigates the style of his first literary effort:[T]oday I find it an impossible book: I consider it badly written, ponderous, embarrassing, image-mad and image-confused, sentimental, in places saccharine to the point of effeminacy, uneven in tempo, without the will to logical cleanliness... disdainful of proof, mistrustful even of the “propriety” of proof... an arrogant and rhapsodic book.... 1Yet Nietzsche was convinced that the book, despite its stylistic flaws, did indeed have its merits. In Ecce Homo he evaluated the positive value of The Birth of Tragedy in the following way:The two decisive innovations of the book are, first, its understanding of the Dionysian phenomenon among the Greeks: for the first time, a psychological analysis of this phenomenon is offered, and it is considered as one root of the whole of Greek art. Secondly, there is the understanding of Socratism; Socrates is recognized for the first time as an instrument of Greek disintegration, as a typical decadent. “Rationality” [End Page 345] against instinct. “Rationality” at any price as a dangerous force that undermines life. 2Since its appearance in 1872 The Birth of Tragedy has been the object of both intensely negative and strongly positive assessments among classical scholars. Either it is dismissed out of hand as a piece of unscholarly romanticism, or it is praised as a unique contribution to the study of Greek art and life, a book of seminal importance for modern classical scholarship. 3 Among those who judge the book to be valuable and original, most follow the author in regarding the “two decisive innovations” spoken of in the above quotation as the heart of the book’s value and originality. Yet few of Nietzsche’s advocates have gone on to show clearly how or in what sense these innovative insights are innovative and insightful.To understand the significance and to appreciate the originality of The Birth of Tragedy it is important to see it against the background of some of the established theories of art and tragedy which preceded it. I shall begin, therefore, by characterizing, in broad strokes, two such theories that emerged in the eighteenth century; then I shall consider how the theory of tragedy that Nietzsche offers in his first book grew out of his dissatisfaction with these earlier views. Finally I shall show how the “two decisive innovations” expressed in The Birth of Tragedy developed during the years preceding the book’s publication. [End Page 346]The Theoretical BackgroundDuring the middle decades of the eighteenth century there emerged a keen interest in providing a theoretical account of the beauty expressed in the works of classical Greek art in general and in the literary achievements of the Attic tragedians in particular. Among German writers the person most responsible for bringing about this interest was the art historian, Johann Joachim Winckelmann. According to Winckelmann, the dominant characteristics of beauty found in ancient Greek works of art are expressed in terms of their “noble simplicity and quiet grandeur [edle Einfalt und stille Grösse].” 4 The ideal qualities of harmony and composure characteristic of classical Greek sculpture reflect and embody the serene and happy world-view of the Greek artists and of classical Greek culture in general. The two best examples of this character are found in the famous “Apollo Belvedere” statue and in the equally well-known statue depicting the Trojan priest Laocoön and his sons’ being devoured by twin serpents—an example of “classical” art that would be utilized by... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Birth of The Birth of TragedyDennis SweetIntroductionNietzsche’s first book, The Birth of Tragedy, is ostensibly an account of the psychological motives behind the creation and modifications of Greek drama, but it is really much more than this. It is the author’s first attempt to understand the dynamic processes of human creativity in general—a concern that would occupy him throughout his career. When we look at his own estimation (...) of the value of his first book, however, we see that he maintained something of a love-hate relationship to it. In the second edition, published in 1886, Nietzsche included a prefatory “Attempt at a Self-Criticism,” in which he castigates the style of his first literary effort:[T]oday I find it an impossible book: I consider it badly written, ponderous, embarrassing, image-mad and image-confused, sentimental, in places saccharine to the point of effeminacy, uneven in tempo, without the will to logical cleanliness... disdainful of proof, mistrustful even of the “propriety” of proof... an arrogant and rhapsodic book.... 1Yet Nietzsche was convinced that the book, despite its stylistic flaws, did indeed have its merits. In Ecce Homo he evaluated the positive value of The Birth of Tragedy in the following way:The two decisive innovations of the book are, first, its understanding of the Dionysian phenomenon among the Greeks: for the first time, a psychological analysis of this phenomenon is offered, and it is considered as one root of the whole of Greek art. Secondly, there is the understanding of Socratism; Socrates is recognized for the first time as an instrument of Greek disintegration, as a typical decadent. “Rationality” [End Page 345] against instinct. “Rationality” at any price as a dangerous force that undermines life. 2Since its appearance in 1872 The Birth of Tragedy has been the object of both intensely negative and strongly positive assessments among classical scholars. Either it is dismissed out of hand as a piece of unscholarly romanticism, or it is praised as a unique contribution to the study of Greek art and life, a book of seminal importance for modern classical scholarship. 3 Among those who judge the book to be valuable and original, most follow the author in regarding the “two decisive innovations” spoken of in the above quotation as the heart of the book’s value and originality. Yet few of Nietzsche’s advocates have gone on to show clearly how or in what sense these innovative insights are innovative and insightful.To understand the significance and to appreciate the originality of The Birth of Tragedy it is important to see it against the background of some of the established theories of art and tragedy which preceded it. I shall begin, therefore, by characterizing, in broad strokes, two such theories that emerged in the eighteenth century; then I shall consider how the theory of tragedy that Nietzsche offers in his first book grew out of his dissatisfaction with these earlier views. Finally I shall show how the “two decisive innovations” expressed in The Birth of Tragedy developed during the years preceding the book’s publication. [End Page 346]The Theoretical BackgroundDuring the middle decades of the eighteenth century there emerged a keen interest in providing a theoretical account of the beauty expressed in the works of classical Greek art in general and in the literary achievements of the Attic tragedians in particular. Among German writers the person most responsible for bringing about this interest was the art historian, Johann Joachim Winckelmann. According to Winckelmann, the dominant characteristics of beauty found in ancient Greek works of art are expressed in terms of their “noble simplicity and quiet grandeur [edle Einfalt und stille Grösse].” 4 The ideal qualities of harmony and composure characteristic of classical Greek sculpture reflect and embody the serene and happy world-view of the Greek artists and of classical Greek culture in general. The two best examples of this character are found in the famous “Apollo Belvedere” statue and in the equally well-known statue depicting the Trojan priest Laocoön and his sons’ being devoured by twin serpents—an example of “classical” art that would be utilized by... (shrink)