We argue that Schilbach et al. have neglected an important part of the social neuroscience literature involving participants in social interactions. We also clarify some part of the models the authors discussed superficially. We finally propose that social neuroscience should take into consideration the effect of being observed and the complexity of the task as potentially influencing factors.

I pulled weeds out of half-mile rows of soybeans on grandma and grandpa’s farm long before I heard of the controversy surrounding herbicide resistance and genetic engineering. Twenty years ago, Gordie, Richard, Greg, and I “walked beans,” not knowing that our fists and scythes were not the only means available to Grandpa for killing weeds. We knew little then about uprooting thistles with tractors and discs or about spraying chemicals onto mustard. We knew only that a cool thermos of lemonade (...) and some stem looks from Mom would motivate our troop into action because every good Iowan hated volunteer corn and sunflower shoots. The hatred stemmed as much from the fact that the weeds made a field “look messy from the highway” as from the fact that they cut down yields; Grandma had aesthetic sensibilities as highly developed as any character in Greg Brown’s song. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:102 HISTORY OF PHILOSOPHY and removal of the social self, through the devaluation of values and de-culturation, to the objectivizatlonof the ego, the state of oneness and unity with all. The remaining sections of the book give an analysis of Rumi, the universal man of the Eas~, and an analysis of Goethe, the universal man of the West. The Rumi chapter contains impressive translations of RumPs poems and the (...) Goethe study offers a very pertinent critique of K. R. Eissler's psychoanalytic interpretation of the great man. Added is a case history of a young man who lived in two cultures, and after many errors and meanderings obtained full integration. The final section offers an application of the transcultural state to health, social change and leadership. A most rewarding and challenging work, marred only by an incredible number of typographical errors and a sometimes uneven English due to misunderstandings of the Dutch printers. Hg~RY WALTESBRANN Washington, D. C. Natural Law and Modern Society. Essays by John Cogley, Robert M. Hutchins, John Courtney Murray, SJ., Scott Buchanan, Philip Selznick, Harvey Wheeler, and Robert Gordis. (Cleveland and New York: The World Publishing Company, 1966. Pp. 285. Meridian Books. $1.75.) This group of essays has been discussed from time to time at the Center for the Study of Democratic Institutions in Santa Barbara, California. The essays provide an excellent survey of the various contexts in which the idea of natural law is functioning today: in jurisprudence, political theory, sciences, religions, and philosophies of culture. Though the emphasis is on "modem society," there is a large amount of history in this collection, going back to the ancients, and one of the most valuable features of the analysis is the evidence here offered that "natural law" has meant and still means many different things, and that this flexibility of meaning gives the idea an enduring vitality and relevance. This is the particular theme of Scott Buchanan's "Natural Law and Teleology", which chapter reviews almost the whole history of philosophy to show how the content of natural law has varied for teleological reasons. Since it is impossible to review this whole story, it seems simplest and least distorting to quote a series of passages from the essays so that the reader can estimate the range of subject-matter and the kind of observations in the volume : The natural lawyer who lacks a sense of history, a factual sense, is as seriously deficient as the one who has been victimmed by the historical setting of his own time. Social scientists are concerned with digging up and evaluating exactly the kind of factual material the conscientious natural lawyer needs (Cogley, pp. 24, 26). We are free, with the deference that is due previous laborers in the vineyard, to work out the ~pplication of the principles of natural law to the conditions of our own time. The ends of uman life are heldto be unchanging; the search for the best way of achieving them is continuous and adapted to changing conditions and new knowledge. The search for a revival of natural law--not necessarily, or even principally pitched in Thomistic terms but projected more generally on a ~us gent~um, pluralistic basis--may well be the dominant theme of American legal philosophy over the second half of the century (Hutchins, pp. 34, 37, 46). Plato saw an epitome of the legal and political crisis of the city-state in the trial and death of Socrates.... The sophists are operators in opinion and power.... Plato sets out to find the truth in science and the good of the state.... There is no doctrinal answer to the quest.... The Dialogues practice what they preach, a relentless dialectical exposure of ideas masquerading in dogmas and opinions.... The endless mutual persuasions in any community could result in good laws if the formal processes of government provided insights for the citizens and magistrates alike.... Neither Plato nor Aristotle commonly uses the phrase 'natural law'.... For the Stoics what Plato had described as the "community of ideas," which was only the notion of the interpenetration of BOOK REVIEWS 103 mutual implication of ideas, became the Logos, the perhaps infinite total of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Particularity, Presence, Art Teaching, and LearningJulia Kellman (bio)The Awful, the Particular, and the TranscendentYears ago in a life drawing class during graduate school, for who knows what reason, I chose to focus my drawing on the model's head and not on her entire form. She was wearing an enormous and elaborate black velvet hat with yards of veiling and several large red silk roses. The combination of textures, shadows, (...) colors, forms, and the suggestion of a story, of meaning beyond the exercise itself, drew me in I think. Using an entire large sheet of tan-colored drawing paper, soft vine charcoal, and a kneaded rubber eraser I began to draw, moving from the impossible hat to the model's high cheekbones, deep-set shadowed eyes, soft cheeks, and curved neck. Somewhere between the top of the paper (the crown of her hat) and the woman's face, however, my hand, my self, the drawing, the young woman, and the hat merged by some means outside my control. I was the act of drawing. I was the charcoal, the curved cheek, the dark eyes, the wonderful hat. There were no boundaries among us. No distances. The drawing, it seemed, drew me at the same time that it revealed an image of the model and her black velvet hat on the paper and tied me to the woman seated before me. I was exalted, transported, amazed.Now, as I think back to that drawing, I understand it as my first clear art experience of doing, not thinking, being, not observing that all artists encounter on their best days. It was, in another way of considering, my initial encounter with the fact that "the imaginative faculty, especially as engaged in the art process is one of the strongest and clearest ways in which we can learn within the qualitative, immediate present, within kairotic as opposed to chronic time, or within the eternal present,"1 as the art educator Kenneth [End Page 51] Beittel explains. Or, put another way, it was my experience with the fact that, as the writer Lawrence Weschler suggests in his biography of the artist Robert Irwin, "Seeing is forgetting the name of the thing one sees."2 Or, as the sculptor Anne Truitt explains, drawing can be "a direct channel between one's [my] experience and one's [my] hand."3This transformation from a distinct see-er and seen to a single entity sharing both time and space, from a distant relationship to intimacy, from a world of the generalized to the place of the particular brings us to the intertwined themes of this article: the importance of the awesome transcendent particularity of the singular—person, creature, place, object, plant, or moment in art and, similarly, religious contemplation and the likeness and/or overlap of artistic engagement with spiritual experience.In order for us to examine the artist in the midst of creating, and to explore our theme of art's relationship to the awful (think of the older usage meaning "full of awe" here) particularity of thisness as John Dun Sotus4 describes the perfection of the particular and specific, as well as to explore the relationship of art making, art learning, art teaching, and spiritual experience, exemplars are necessary. Our first exemplar is Gordie, a member of the art class I teach at a local hospital. He, as much as anyone, exemplifies artistic engagement with the current moment, its thisness in fact, and he illustrates the art maker's/learner's engagement with pure doing in the act of creating an image. Our second exemplar, the filmmaker, writer, and painter Derek Jarman,5 exemplifies by his lifetime of creative accomplishment an artist in the most literal manner. And even in the last years of his life—as sculptor, gardener, landscape designer, writer, and creator of a place of great beauty—he illuminates in both his words and in his garden his engagement with the present moment, with particularity, and with the spiritual quality that permeates his world.Gordie's Tale: Art and FlowersGordie accompanied his friend Roger to the first art class to be held at the hospital for people with... (shrink)