This article examines the neurobiological basis of the healing power attributed to shamanic practices in the Andes and Brazil in light of the pharmacology of neurotransmitters and the new technological explorations of brain functioning. The psychotropic plants used in shamanic psychiatric cures interfere selectively with the intrinsic neuromediators of the brain. Mainly they may alter: (1) the neuroendocrine functioning through the adrenergic system by controlling stressful conditions, (2) the dopaminergic system in incentive learning and emotions incorporation, (3) the serotoninergic system (...) in modulating behaviors, and mood, and (4) basic functions implied in anxiety or depression. PET scans and functional magnetic resonance imaging studies of hypnotic trance and altered states of consciousness may provide a useful model for the neurophysiological phenomena of shamanic drum-and-dance trance. The reorganization of cortical areas and the direct interconnections between the prefrontal cortex and the dopaminergic reward centers in the limbic system are of particular significance for human social judgment and symbolic processing. Those centers—including the hypothalamus and the amygdala (associated with psychosomatic equilibrium, memory, and emotion) are enhanced. This arousal may be amplified in order to induce a cathartic crisis—the shamanic trance. It is suggested that through this holistic approach the shaman empirically interferes in neurobiological dysfunctions. (shrink)

En peinture, poser la question du realisme, c'est immediatement etre confronte a la question de la diversite des styles. La facilite avec laquelle nous reconnaissons quelque chose dans une toile dite realiste depend-elle de notre plus ou moins grande familiarite avec le systeme de representation utilise, comme le soutient Nelson Goodman, ou bien d'un quelconque caractere naturel de cette representation, comme l'affirme Ernst H. Gombrich? Partant de l'histoire de la question de la mimesis, Laure Blanc-Benon examine les principaux arguments (...) de la querelle du conventionnalisme pictural et propose une theorie de la representation qui permet de defendre une forme elaboree de realisme pictural et qui renouvelle la notion problematique de ressemblance. Cette approche permet aussi de rendre compte de la perception propre aux images picturales, qu'elles soient abstraites ou figuratives; ou qu'elles se situent par-dela cette distinction, comme les toiles de Nicolas de Stael, Francis Bacon ou Francois Rouan. (shrink)

Eduardo Arroyo, Armelle Auris, François Boissonnet, Paul HENRY, Pierre-Jean LABARRIERE, MATIEU, Gilles AILLAUD, Gérad THALMANN, Nicole MATHIEU, Jacques VIMARD, Michel QUAREZ, Leonardo CREMONINI, L'atelier d'Eduardo Arryo: Le carré blanc du ring, Rue Descartes, No. 7, Logiques de l'éthique (Juin 1993), pp. 149-168.

Pendant tout le XVIII° siècle et surtout à partir de 1741, il y eut diverses tentatives pour atteindre le sommet du Mont-Blanc. Le 3 août 1787 Horace-Bénédict De Saussure parvint à la cime du fameux mont et sut donner le plus grand retentissement à cet exploit tant dans les milieux mondain que scientifique.Afin de commémorer cet évênement, Charles François Exchaquet construisit des maquettes de la Vallée de Chamonix et du Mont-Blanc qui se vendirent dans toute l'Europe. A notre (...) connaissance il n'en subsiste plus que cinq exemplaires. L'un d'entre eux est la propriété du Cabinet de Minéralogie du Musée Teyler de Haarlem, Pays-Bas. Il est en parfait état de conservation et accompagné de documents originaux dont un de la main de C. F. Exchaquet. Cette maquette donne de précieux renseignements sur la technique des plans-reliefs, qui a précédé la représentation cartographique plane.SummaryDuring the whole of the eighteenth century, and especially since 1741, various attempts have been made to climb the Mont Blanc. On 3 August 1787, Horace-Bénédict De Saussure reached the summit of the famous mountain. His achievement had an impact on society at large, as well as in the scientific community. To commemorate the event, C. F. Exchaquet built maquettes of Mont-Blanc and the Valley of Chamonix, which he sold all over Europe.To our knowledge, only five of these models have been preserved. One of them, in a perfect state, is the property of the Mineralogical Cabinet of Teyler's Museum at Haarlem, in The Netherlands. Original documentation has been preserved, including one hand-written manuscript from Exchaquet himself.The study of both documents and maquette reveals interesting information on the technique of plan-relief before the traditional use of two-dimensional cartography. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Adventures of Telemachus [1699] by François de Salignac de la Mothe-FénelonJean–Michel RacaultFrançois de Salignac de la Mothe-Fénelon. The Adventures of Telemachus [1699]. Translated with an introduction and notes by A. J. B. Cremer. London, Anastasis Books, 2022, 419 pp. Hardbound £24.50. Paperback £15. ISBN: 9781739798314.Fénelon’s 1699 novel The Adventures of Telemachus—or more precisely, the epic poem in prose—was one of the major bestsellers in many European countries (...) for nearly two centuries. The book inspired paintings, operas, fashions, and even wallpaper motifs. It gave birth to a literary subgenre, the “archeological novel,” such as Terrasson’s Sethos (1731) or Bernardin de Saint-Pierre’s L’Arcadie (1788), in which the action is located in an antique setting. Still part of French schools’ syllabi a century ago, this book mainly owes its survival today to highly specialized academic research, stimulated from time to time when an “Agrégation” program generates new publications, papers, and conferences, as happened in 2009–10. The situation is similar in English-speaking countries, if perhaps just a bit worse: new editions are scarce and generally based more or less on revised versions of eighteenth-century translations, such as those editions by John Hawkesworth’s (1768) or Tobias Smollett’s (1776).The publication by A. J. B. Cremer of an entirely new translation, featuring a close rendering of the French text into modern English and preserving the original’s formal dignity without resorting to a pastiche of the classical language, is therefore a landmark in the history of Fénelon’s reception, and in the valuation of Telemachus particularly. This edition, while intended for the general reader, includes most of what is expected of a scholarly edition. In a comparatively short introduction, the editor recalls the essential facts about the author’s background (as a descendent of high nobility) and about his ecclesiastic career, which was compromised by both his involvement in mystical spirituality (the quarrel over Quietism) and his critical attitude toward the absolutism of Louis XIV’s régime. [End Page 140]In fact, Fénelon’s appointment as Archbishop of Cambrai (1695) was a kind of exile. In 1689, however, he was appointed tutor to Louis XIV’s seven-year-old grandson, the young Duke of Burgundy, second in the line of succession to the throne after his father (though both died prematurely). Fénelon wrote for this boy The Adventures of Telemachus as an educative fiction in the tradition of the “mirrors of Princes.” Of course, such a book was not intended for publication, and when it appeared in 1699—strangely enough, in a fully legal manner and with a printing privilege—it was against Fénelon’s will and in a very faulty form, which was corrected in later editions. An editor today therefore faces solving some highly complex textual problems, and choosing between the manuscript traditions. Cremer’s translation is based upon Jacques Le Brun’s authoritative text, published in Fénelon’s Œuvres, tome II (Paris: Gallimard, “Pléiade,” 1997).1After surveying the critical reception of Telemachus, particularly in England, starting at the text’s first publication and reaching the present time, the introduction discreetly hints at an apparent trend, among some interpretations, toward Christian allegory. If the figure of Mentor obviously “represents Fénelon” in his tutorial role, Cremer notes, this character, also an incarnation of Minerva, embodies humanity and divinity simultaneously, and thus may be seen as a “Christ-figure,” with Telemachus as his disciple and Ulysses, with his pursuit of a never-ending quest, as the symbolic form of the Divine. These observations are not entirely new; they have been formulated before by various critics. The editor himself concurs with a well-known article by André Blanc that describes Fénelon’s neo-platonician turn of mind: for Fénelon there is no contradiction between Christian revelation and the pagan fables of classical mythology, which he considers prefigurations or allegories of Christianity.This interpretation is abundantly and convincingly confirmed in the editor’s annotations. While as expected the commentaries point frequently to Greco-Latin mythology or classical literary sources... (shrink)

Il y a une pente universitaire à s'enfermer dans les textes en perdant de vue la réalité. C'est l'aboutissement d'un vice constitutif. En effet, depuis Aristote au moins, toutes les doctrines se sont développées sur la base d'un dédoublement ontologique entre un domaine des 'idées' et un domaine de la réalité elle-même. Ce dédoublement repose sur une imagination étrangère à l'expérience. Pour y voir plus clair, il faut s'appuyer constamment sur ce qui est donné tel qu'il est donné. Pour cela, (...) il faut déplacer l'attention depuis les contenus vers la manière dont nous les saisissons consciemment en confrontant l'expérience commune et la figure scientifique corrélative"--Page 4 of cover. (shrink)

Cette méditation en première personne tourne autour de l’antique et grande question : Que faire? et s’appuie sur le texte des Essais de Montaigne. La question du « faire » y est interrogée et relancée par-delà le « produire » et la production qui, aujourd’hui, plus que jamais, risquent de l’emporter et de l’engloutir tandis qu’est brossé un portrait chinois (taoïste!) de celui dont Nietzsche disait si bien : « c’est à lui que je m’attacherais si l’on me donnait pour (...) tâche de faire de cette terre une patrie ». (shrink)

À partir d’une certaine idée de la finitude, nous avons voulu simplement dénoncer le fantasme d’un monde sans frontières.

Sans la mort, arche du rien, exit, avec la philosophie, la question fondamentale de la métaphysique : pourquoi y a-t-il quelque chose et non pas plutôt rien? Depuis son commencement, la philosophie n’a cessé de s’affronter à la mort, n’a cessé d’essayer de la penser, hésitant entre un memento mori et un memento vivere. Mais se demander si la pensée de la mort nous invite à la jouissance ou à l’abnégation et si on peut apprendre à mourir sont peut-être questions (...) oiseuses et indécidables. Pour sortir de cette indétermination, il faut sortir du cercle de la morale, distinguer d’abord le pur fait contingent de la mort, du mourir lui-même comme structure de l’existence humaine et reconnaître à la fois que, si nous ne cessons de lutter contre la mort et si, le plus souvent, nous lui tournons le dos, nous sommes, à elle, adossés et que, sans elle, nous ne ferions rien. (shrink)

La philosophie est aujourd'hui de retour pour éclairer les grands enjeux de cette fin de siècle. La quête du sens qu'exprime ce retour ne peut que rencontrer la figure et le parcours de Paul Ricœur : depuis les années trente, il a toujours conçu sa réflexion comme une forme d'engagement dans la Cité. Sa présence constante dans ce siècle ne sera jamais démentie. Maître à penser plus que maître penseur, ses travaux sont devenus une source majeure d'inspiration dans les domaines (...) les plus divers. François Dosse a mesuré, avec son Histoire du structuralisme, à quel point cette pensée a été ignorée dans les années soixante et soixante-dix. En historien, il réalise ici une biographie intellectuelle qui entend rendre justice à ce grand penseur dont l'œuvre se situe à la croisée de la tradition réflexive française, de la philosophie dite continentale et de la philosophie analytique, dans un constant souci d'articulation de leurs apports respectifs. Grâce à une vaste enquête auprès de 170 témoins et une étude fouillée des travaux de Paul Ricœur, l'auteur retrace la cohérence du parcours de sa pensée et ses rebondissements multiples, au gré des sollicitations de l'actualité. Outre l'œuvre elle-même, c'est dans la succession des lieux de mémoire - les camps de Poméranie orientale, le Chambon-sur-Lignon, Strasbourg, la Sorbonne, les Murs Blancs, Nanterre, Chicago... - et de ceux de ses groupes d'appartenance - le cercle de Gabriel Marcel, Christianisme social, Esprit, le laboratoire de phénoménologie... - que se dessine une identité à la fois plurielle du fait des appropriations multiples qu'elle suscite, et unitaire par la cohérence toujours préservée d'une vie de recherches. La passion qui anime cette mise en intrigue ne vise pas à ériger une nouvelle statue de commandeur. L'auteur entend simplement faire partager le don de soi de Paul Ricœur, source d'une sagesse communicative. Ce parcours est une invitation à ne pas céder au scepticisme et au cynisme, et à retrouver les voies de l'espérance par une mémoire toujours retravaillée. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Surfing the Sublime:Tim Winton's Breath and Eco-HeroismSteve Mentz (bio)The sublime represents an ecological problem. Breathing poses an entangled solution. Surfing, in which a human body stands upright inside a rotating barrel of unbreathable whitewater, provides a way to imagine the connection between these two things.The sublime has represented an elevated category of literary language since the classical writer Longinus's On the Sublime (~1st century CE). From the start, the (...) sublime captures grandeur and also an excess that challenges human thinking. Many of the essential Romantic and Post-Romantic tropes of the sublime that would later appear in dense philosophical accounts, from Edmund Burke and Immanuel Kant to Jean-Francois Lyotard and Jacques Derrida, show themselves embryonically in Longinus's brief classical description.1 The key force of sublime style, Longinus emphasizes, is irrationality: "A lofty passage does not convince the reason of the reader, but takes him out of himself. That which is admirable ever confounds our judgment" (1.4). The conceptual violence of the sublime strains our imaginations almost to breaking, and Longinus's intuition that sublimity always sits on the far side of human comprehension becomes a central feature of this idea in literary history. Although we know very little about Longinus the author–neither his name nor the century in which he lived are certain–he fingers the particular pleasurable pain and rupture of coherence that would become the signature of the sublime in modern poetics. The problem with the sublime perspective is that it craves rupture, centers the human imagination, and refuses to make space for nonhuman collaborators. The opposite of the sublime's imaginative conquest of the world may be simple breathing, the taking of alien air into one's lungs and body, and the environmental dependence each breath marks.The philosopher Graham Harman has recently traced the sublime lineage of Burke and Kant to Lyotard, Levinas, Derrida, and other twentieth-century thinkers, in order to reject the concept as fundamentally [End Page 79] anthropocentric. Harman instead advocates for a philosophy that does not require the shaping structures of human perspective. He argues for an ecological art that engages with the world beyond the merely human perspective, "art that explores unforeseen interactions between the different parts of the external world." What Harman terms "unsublime ecology" might reasonably be described as an inhuman ecological perspective. The philosopher reminds us that the sublime has always been, both from Longinus and in Harman's reading explicitly from Kant and Burke to Lyotard and Derrida, a ju-jitsu trick in which the imagination of a (white male) subject reintegrates what it cannot fully comprehend. The list of poetic works whose language most commonly appears as exemplary of the sublime–Milton's Paradise Lost, Shelley's "Mont Blanc," Shakespeare's King Lear, Wordsworth's The Prelude–suggest that the mode appeals to poetic egoists of a particularly masculinine type.2The heroic sublime of these poets and theorists falters on the physical fact of breathing. Each day of their lives, more than 20,000 times per day, every one of these men, even stern, blind Milton dictating his prophetic poem to dutiful daughters after his revolution had failed, drew nonhuman air into and out of his lungs, exchanging oxygen and carbon dioxide. Each man's thinking continued, while their minds dwelled little on how their body's dependence on alien matter to suspire might impinge upon the heroic sense of self. Even prophets and geniuses, even Wordsworth and Derrida, depend on unconscious patterns. Even the greatest of poets breathes.That's where surfing comes in, in particular Tim Winton's 2008 surf novel Breath, which relates a minor-key epic of surfing against breathing. The novel's core figures devote themselves to intentional oxygen deprivation: our teenage narrator-hero Pikelet; his rebellious buddy Loonie; Sando, the Australian surf-seer they follow; and Sando's American one-time freestyle skier wife, Eva (note the unsubtle symbolism of her name), whose injured knee keeps her off the snow but does not prevent her from chasing sublimity through self-suffocating games that involve sex, a plastic bag, and eventually Pikelet. To court mortality by cutting... (shrink)

Attempts to use Big Data to transform car insurance pricing in France have failed. Why? Three possible explanations are discussed: organisational and cognitive inertia, normative preventions, and deliberate strategy. This article finds that moral or political reluctance has played only a secondary role in the failure of telematics devices. More important has been the deployment of an experimental strategy that has resulted in the conclusion that in the short and medium term at least, the use of big data to rate (...) car insurance is not profitable. There are too many organisational and cognitive barriers to the smooth adoption of innovation. All insurers note they all arrived at this conclusion. An implicit consensus therefore remains to retain the old business model. (shrink)

This chapter analyzes Dworkin’s view that there can be morally unsettling individual responsibility gaps in cases of collectively generated bad outcomes. I focus on two of the more provocative aspects of Dworkin’s discussion. First, I challenge Dworkin’s view that group responsibility is indispensable for comprehensive moral evaluations. Second, I assess the related contention that those confronting IRGs can realize significant expressive value by conceiving of some group as a responsible entity that can be blamed for the relevant bad outcome. In (...) sum, I argue that there are weighty reasons why moral theorists should take care not to point too quickly to group responsibility and blame as the best and most discerning ways of demystifying IRGs. (shrink)

Diversity of evidence is widely claimed to be crucial for evidence amalgamation to have distinctive epistemic merits. Bayesian epistemologists capture this idea in the variety-of-evidence thesis: ceteris paribus, the strength of confirmation of a hypothesis by an evidential set increases with the diversity of the evidential elements in that set. Yet, formal exploration of this thesis has shown that it fails to be generally true. This article demonstrates that the thesis fails in even more circumstances than recent results would lead (...) us to expect. Most importantly, it can fail whatever the chance that the evidential sources are unreliable. Our results hold for two types of degrees of variety: reliability independence and testable aspect independence. We conclude that the variety-of-evidence thesis can, at best, be interpreted as an exception-prone rule of thumb. (shrink)

François Recanati; IV*—Contextual Dependence and Definite Descriptions, Proceedings of the Aristotelian Society, Volume 87, Issue 1, 1 June 1987, Pages 57–74, h.

Diversity of evidence is widely claimed to be crucial for evidence amalgamation to have distinctive epistemic merits. Bayesian epistemologists capture this idea in the variety-of-evidence thesis: ceteris paribus, the strength of confirmation of a hypothesis by an evidential set increases with the diversity of the evidential elements in that set. Yet, formal exploration of this thesis has shown that it fails to be generally true. This article demonstrates that the thesis fails in even more circumstances than recent results would lead (...) us to expect. Most importantly, it can fail whatever the chance that the evidential sources are unreliable. Our results hold for two types of degrees of variety: reliability independence and testable aspect independence. We conclude that the variety-of-evidence thesis can, at best, be interpreted as an exception-prone rule of thumb. (shrink)

Nanotechnology is an important platform technology which will add new features like improved biocompatibility, smaller size, and more sophisticated electronics to neuro-implants improving their therapeutic potential. Especially in view of possible advantages for patients, research and development of nanotechnologically improved neuro implants is a moral obligation. However, the development of brain implants by itself touches many ethical, social and legal issues, which also apply in a specific way to devices enabled or improved by nanotechnology. For researchers developing nanotechnology such issues (...) are rather distant from their daily work in the lab, but as soon as they use their materials or devices in medical applications such as therapy of brain diseases they have to be aware of and deal with them. This paper is intended to raise sensitivity for the ethical, legal and social aspects (ELSA) involved in applying nanotechnology in brain implants or other devices by highlighting the short term problems of testing and clinical trials within the existing regulatory frameworks (A), the short and medium-term questions of risks in the application of the devices (B) and the long-term perspectives related to problems of enhancement (C). To identify and address such issues properly nanotechnologists should involve ethical, legal and social experts and regulatory bodies in their research as early as possible. This will help to remove pressure from regulatory bodies, to settle public concern and to prevent non-acceptable developments for the benefit of the patients. (shrink)

This article maintains that an important class of scientific generalizations should be reinterpreted: they have typically been understood as ceteris paribus laws, but are, in fact, generics. Four arguments are presented to support this thesis. One argument is that the interpretation in terms of ceteris paribus laws is a historical accident. The other three arguments draw on similarities between these generalizations and archetypal generics: they come with similar inferential commitments, they share a syntactic form, and the existing theories to make (...) sense of them are alike. Once these generalizations are properly understood as generics, the recent cognitive approach to generics can be extended to the study of the relevant sciences. The last section indicates ways in which this extension is fruitful for the two strands of research that we combine: the philosophy of science literature on generalizations and the semantics literature on generics. (shrink)

Cher*** Me revoici après neuvaine. Et aujourd'hui, mon regard porte au large. Et la mer apportera à chaque homme des raisons d'espérer, comme le sommeil la cohorte des rêves. C'est le point où la résidence numérique sur « Rhuthmos », en vient à s'enlacer avec l'exposition que je prépare à la « Galerie des Paysages » durant le festival d'Avignon. Le thème aura trait à une poétique intime — tu fais bien de me rappeler, cher ami, mon abus de langage (...) : je prends cette - Résidence numérique — François Villais. (shrink)

D'Avignon, en cette nuit du 7 mars Cher **** De nouvelles rêveries m'ont porté vers le cœur de mes structures Lorsqu'on s'y projette, on s'y trouve enveloppé du textile qui abrite mais n'enferme Ni toiles, ni filets, ce sont des jerseys lâches, des tulles diaphanes Des interfaces sensibles, qui au vent s'emplissent et se plissent, et qui bruissent aux flux, et qui vibrent à la terre Des mailles qui distillent les rosées, percolent des alcools, infusent la nuit, pénètrent le jour (...) Et qui pourtant, - Résidence numérique — François Villais. (shrink)

Cher ***, En ce temps de festival, j'ai le plaisir de te présenter l'exposition que je donne actuellement à la galerie d'Avignon. Le titre en est « Les bateaux ivres de la liberté ». Sache que je dispose de quelques bannettes pour des festivaliers en déshérence dans la ville surpeuplée. Graphisme : FW En ce ci bel été, très cher. Fr - Résidence numérique — François Villais.

Cher*** Je rentre à l'instant des « Iles d'Auvergne », d'où mon silence de ces dernières semaines. La traversée, avec « Gevaudan Airline », ne s'est pas faite sans péripéties. Je m'étendrai, sous peu, sur l'installation pilote « dénouée, déliée, déroulée, dressée » que j'ai pu élever là-bas, et dont je te donne un aperçu ci-dessous. Mais tu voudras bien, avant cela me suivre brièvement dans les étranges fantasmagories qui hantent mon avance vers l'été. « Les chiens de fer » (...) A l'approche d'Avignon, autour de - Résidence numérique — François Villais. (shrink)

Le posé-sol, Dans mes installations, touche à l'origine du mouvement qui me porte. Si je puis rêver un détail achevé, c'est bien celui de ce délicat contact. Mâture : le touché Elle pèse et appuie, mais sans bruire Un touché sans blesser Un posé, mais léger De bambous, infondés Non encastrés, enfoncés, enterrés La surface n'est ni creusée, ni troublée Le mat est creux Sa trace est — moins qu'un disque — un anneau A sa disparition, sur le gazon, ce (...) seul signe Griffe d'un visiteur fugace - Résidence numérique — François Villais. (shrink)

Cher***, Il est temps de te rapporter le « filage », cette gestuelle que j'ai donnée durant mon séjour aux « îles d'Auvergne », en cette vitalité printanière de fin de mai. Le résultat final, en frange d'univers, est autonome, inattendu, énigmatique et incongru. La structure, arrivée ce matin, repartira sous peu. Anecdote improbable dans le paysage, l'on marche à lui, en cette montagne, et je te donne ci-dessous la scène finale, en son décor naturel : A l'entrée, l'invite : (...) L'appel s'étend loin sur la - Résidence numérique — François Villais. (shrink)

Cher*** Je m'en viens te soumettre un projet d'exposition à la Galerie des Paysages, à Avignon, durant le festival de théâtre, en juillet prochain. « New York à vif » Une approche de la matière de la ville de New York, au delà du minéral, comme d'un « corps urbain », incarné, quasi charnel. Ce thème s'inscrit dans la continuité de mes travaux et installations de land-art, et de mes expositions, qui prolongent depuis 2002 ma carrière d'architecte, commencée en 1987. (...) Ces recherches sont centrées sur - Résidence numérique — François Villais. (shrink)

Cher ****, Il émane de ma Rêverie d'aujourd'hui un désir de projet de volumes dans le paysage mieux assis et assumé. Détachement progressif des modes d'insertion confortables — qui ont été néanmoins de bons leviers : M'appuyant sur le « land-art », mobiliser le génie du paysage comme plateforme pour des expressions plastiques de grande échelle afin d'en faire émerger du sens. Utiliser le paysage comme environnement harmonique à un statuaire monumental - Résidence numérique — François Villais.

The variety-of-evidence thesis has been criticized by Bovens and Hartmann. This article points to two limitations of their Bayesian model: the conceptualization of unreliable evidential sources as randomizing and the restriction to comparing full independence to full dependence. It is shown that the variety-of-evidence thesis is rehabilitated when unreliable sources are reconceptualized as systematically biased. However, it turns out that allowing for degrees of independence leads to a qualification of the variety-of-evidence thesis: as Bovens and Hartmann claimed, more independence does (...) not always imply stronger confirmation. (shrink)

Explores how the French theory of philosophy, which became popular during the last three decades of the twentieth century, spread to America and examines the critical practices that French theory inspired.

François Recanati; IV*—Contextual Dependence and Definite Descriptions, Proceedings of the Aristotelian Society, Volume 87, Issue 1, 1 June 1987, Pages 57–74, h.

This article examines two theses formulated by Russo and Williamson in their study of causal inference in the health sciences. The two theses are assessed against evidence from a specific case in the social sciences, i.e., research on the institutional determinants of the aggregate unemployment rate. The first Russo–Williamson Thesis is that a causal claim can only be established when it is jointly supported by difference-making and mechanistic evidence. This thesis is shown not to hold. While researchers in my case (...) study draw extensively on both types of evidence, one causal claim out of the three analyzed is established even though it is exclusively supported by mechanistic evidence. The second Russo–Williamson Thesis is that standard accounts of causality fail to handle the dualist epistemology highlighted in the first Thesis. I argue that a counterfactual-manipulationist account of causality—which is endorsed by many philosophers as well as many social scientists—can perfectly make sense of the typical strategy in my case study to draw on both difference-making and mechanistic evidence; it is just an instance of the common strategy of increasing evidential variety. (shrink)

The classic essay on the "karesansui" garden by French art historian Berthier has now been translated by Graham Parkes, giving English-speaking readers a concise, thorough, and beautifully illustrated history of Zen rock gardens. 37 ...

Recent studies in neuroeducation highlight the benefits of teaching children about how the brain works. However, very little is known about children's naive conceptions about the brain. The current study examined these representations, by asking 6–10 year-old children and adults to draw a brain and the inside of a belly as a control drawing. The drawings were scored using a content analysis and a list of graphic indicators was derived. First, all the graphic indicators used in the brain drawings were (...) different from those used in the belly drawings, suggesting that children are able to distinguish these two organs. Second, with age, children depict an increasing number of indicators, more complex indicators, indicators that are more anatomically correct, to depict the brain. There is an important evolution between 6 and 8 years-old but also between 10 years-old and adults. These results are discussed in relation to children's metacognitive knowledge and to their implications for neuroeducation. (shrink)

T. 1. Livres I-V -- t. 2. Livres VI-XII.

. This article analyzes the epistemic contributions of models by distinguishing three roles that they might play: an evidential role, a revealing role and a stimulating role. By using an account of learning based on the philosophical understanding of propositional knowledge as true justified belief, the paper provides the conditions to be fulfilled by a model in order to play a determined role. A case study of an economic model of the labor market—the DMP model—illustrates the usefulness of these conditions (...) in articulating debates over the epistemic contributions of a given model. (shrink)

In the beginning of this article, the author discusses the biographical context of his engagement in the French translation of Sein und Zeit in the 1980s, under the guidance of Jean Beaufret. He integrates the discussion into the general problem of philosophical translation. The author argues that one of the most important things in this matter is the decision of translating. Concerning Heidegger translations, the author – answering to some critics he received – insists upon the idea of the intimate (...) relationship between thinking and poetry, justifying his constant appeal to examples from literature in his translator’s notes at the end of his version of Sein und Zeit. (shrink)