Despite obvious advantages, no generalised ideographic codes have evolved through cultural evolution to rely on iconicity. Morin suggests that this is because of missing means of standardisation, which glottographic codes get from natural languages. Although we agree, we also point to the important role of the available media, which might support some forms of reference more effectively than others.

Nowadays, higher education worldwide is affected by the COVID-19 pandemic. It has affected students’ attendance in the universities and causes universities to close down in more than 190 countries. On the other hand, novice engineers studied only a few lectures related to highway engineering. Their lectures have included very little knowledge about asphalt pavement construction as highway engineering consists of many areas that are not studied in detail during their studying years subject to their traditional education. Due to all mentioned, (...) a new drive to promote online learning paves the way to evaluate our future approach to curriculum development and delivery of educational materials for engineering courses. However, experts can offer solutions to these problems using their past experience. Hence, a system that allows experts to share their experience with other engineers after completing a project is needed. Nevertheless, the web-based expert system for maintaining flexible pavement problems in tropical regions designed in this study is a novel concept. Prior to developing this system, the need for such a system was determined through literature review and validated through a questionnaire survey. Experts were interviewed, and a questionnaire survey was conducted to construct the knowledge base of the system. Knowledge was presented as rules and coded in software through PHP programming. Web pages that support the user interface were designed using a framework that consists of CSS, HTML, and J-Query. Furthermore, the system was tested by an array of users engaged in highway engineering, namely, experts, teaching experts, novice engineers, and students. The mean values of the overall system evaluation performed by 20 users using a five-point Likert scale were 4, 4.5, 3.75, 4.25, 5, 4, and 3.5. Expert and user satisfaction prove the effectiveness of the proposed system. (shrink)

Kant's correspondence includes a short letter from a well-wisher named Bertram. The content of the letter is as harmless as it is uninteresting: Bertram invites Kant to visit his brother's estate. ‘Do come,’ he says, ‘because the weather is so beautiful and such travel so beneficial’ . The interest of the letter is entirely exhausted by the date: 20 May 1775. For Kant used the letter to scribble down ideas, some suggestive of themes later to emerge in the first (...) Critique. Similarity of handwriting and train of thought suggests that these scribbles are part of a whole bundle of papers collectively known as the Duisburg Nachlaβ . It was supposedly Kant's practice to use letters as scrap paper shortly after receiving them. If this is true, we can date the Bertram scribbles - and, in all likelihood, the bundle as a whole - to some time in 1775. That would make the Duisburg Nachlaβ one of the few pieces of philosophical writing in Kant's own hand to come down to us from the 1770s, and the only extended piece in his hand from the middle of the decade. It offers a rare glimpse of Kant at work on immediate ancestors of central ideas in the first Critique and might therefore be expected to shed light on an important chapter in Kant's philosophical development. (shrink)

Welcome to all readers of the BJB Vol 9 issue 3, 2018! The BJB team together with authors, reviewers and well- wishers have contributed their all-out support to bring out this issue despite many challenges. This issue spans several topics of Bioethics beginning from complementary feeding patterns, ethical beliefs and vaccine, the regulatory documents related to pharmaceutical promotion in Bangladesh and Intimate Partner Violence. All these topics are very important for Bangladesh as well other countries.

Another major event, still anticipated, and growing out of the first, is the expected publication of a new journal of comparative philosophy, Philosophy East and West, edited by Charles A. Moore, probably in April, 1951. Early plans called for a Board of Editors composed equally of Easterners and Westerners, with special editors for some countries, such as India, China, Japan, Ceylon. This project, which has many well-wishers, may prove to be one of the outstanding philosophical achievements of the century.

The Philosophy of Modern Song: curious title, a curious book. If you bought it, as I did, because you are a devoted Dylan fan, hoping to find new Dylan songs inside, or at least new Dylan prose, you will be disappointed. In the photo of three musicians on the cover, none of them is Dylan. The one on the left is Little Richard. Who are the other two? Nowhere are we told their names, nor the names of the people in (...) any of the other photos, except for the sixty-six featured artists, though we will recognize many. The photo on the back cover might or might not be of the interior of Izzy Young's “Folklore Center,” reminiscent of Dylan's early days in Greenwich Village in the Sixties, when, together with my guitarist husband, I got to hear him perform after hours at the Gaslight and knew him well enough to say Hi when passing on the street.The basis for selecting the sixty-six songs anthologized and commented on is not immediately obvious. This is not a collection of Dylan's underappreciated favorites, though the taste represented is certainly eclectic and the choices are often surprising. The title does not help the reader who has not yet got her bearings... Philosophy? As if to justify his use of the word, Dylan eventually offers a lengthy comment on Albert Camus, but how relevant is that comment to these songs? And the word modern, too, means so many things—a sudden divergence from the past in the arts and literature; up-to-date and therefore good. These songs are not that kind of modern. If anything, the book looks backward, across the years of Dylan's long life to his musical awakening. Because we are almost the same age, I recognize the hodgepodge of styles and influences assembled here as belonging mostly to the early Fifties, when, like Bob, I was entering my teens by listening to, even dancing to, songs on the radio before I fell asleep at night. Enough about me! But no more apt basis for classifying these songs is suggested. They are not arranged alphabetically or chronologically.As for the anthologized songs, each one, once named, receives a commentary, and every commentary is called a chapter, and every chapter is divided into two parts, spelled out in letters as bold as a movie marquee. We are given the title of each song, the date of its release, and the name of the songwriter. The first part of each commentary consists of a paraphrase of “events” in the song, told almost exclusively in the second-person you rather than the more conventional I or the third-person he or she. Here is a passage from Dylan's paraphrase of “Blue Suede Shoes” by Carl Perkins: You get on well with most people, and you put up with a lot, and you hardly get caught off guard, but your shoes are something else. Minor things may annoy you, but you rise above them. Having your teeth kicked in, being pounded senseless, being dumped on and discredited, but you don't put any weight on that, none of it is as real to you as your shoes. They're priceless and beyond monetary worth.The paraphrase goes on for almost six pages, and to what end? The second half of each commentary, indicated by changes in the type, takes a few steps back to consider the sociological implications of the song in the context of its time. For instance, from the second half of the commentary on “Blue Suede Shoes”: “Shoes reveal character, station, and personality.” But Dylan does not use the opportunity to talk about his own character, station, personality. His associations with Carl Perkins and “Blue Suede Shoes” morph into an anecdote about a man called “Iron Felix, trusted consort to Lenin and Stalin.”A lengthy list of all required photo credits fills the two back pages but is printed in type so small it is almost illegible. If you want more information, and more importantly if you want to experience the songs discussed, your best bet is to search for the recordings on YouTube and to follow along, reading Dylan's commentary, one song at a time, while listening. Or, I hear rumors that we will need to purchase another book, the audio version of Philosophy of Modern Song, not yet released.Every song has its commentary, but nothing about this organization is stable, and as soon as the reader/listener thinks she has discovered a rationale for the order of the works selected, she is met with an exception. Basically, these seem to be songs about which Dylan has something anecdotal to say. More usefully, perhaps, they are organized around certain themes—those that have always preoccupied him: man's inhumanity to man, injustice, self-deception, the human situation. The anonymous author of the blurb on the jacket promises a master class in songwriting, but, if it exists at all, that lecture is exhausted in one or two observations, such as: “ ‘El Paso’ is built on five stanzas, each one two verses and a bridge and then returning to the next stanza.... ”It was almost fifty pages into the book that the sense of something missing overcame me. It was not only the words of the songs and the music that were missing; it was the author, the central intelligence that I love, the singer and songwriter whose name is credited on the cover but who never appears in the book, not even in a photograph. What I missed was Dylan. He had removed himself from his book's pages, except perhaps for a single instance: “You're an eighty-year old man, being wheeled around in a home for the elderly, and the nurses are getting on your nerves.... ”Has Bob Dylan grown weary of himself and all of his creations? The commentaries are not about Bob. In the whole book, the line quoted above may be the only exception. Does he refuse the “first person singular in the hopes of transcending ego”? Maybe; but we want to hear our master's voice. As for the philosophy of song? Besides the remarks on Camus, there is only one commentary in which Dylan explicitly states anything like a philosophy, and that is the one on “Willie the Wandering Gypsy and Me,” written and performed by Joe Shaver. The song has a philosophical point of view: “Keep moving, it's better, let the train keep on rolling.”. (shrink)

Toward the end of the Republic, Cicero was not alone in planning to collect his own letters for publication. Most likely, Caesar and Varro, among others, intended to do the same, and Cicero had access to letters by the Elder Cato and Cornelia. But it was not only authors or recipients who assembled and circulated letters. In December 59, Cicero wrote to his brother Quintus, who was concluding his mandate as governor of Asia, and encouraged him to leave behind a (...) positive image of himself. In particular, Cicero did not hide his concern at some carelessness Quintus displayed in sending out certain letters : of those, Quintus should destroy the ones he was able to find, while nothing could be done about some collections which had already been circulated and criticized. In other words, both the authors and their ill-wishers selected, assembled and circulated letters. Who chose which letters mattered enormously, since collections had the power to enhance or damage a person's public image. (shrink)

Festschriften, when they are haphazard collections of pieces written by colleagues and well-wishers on the occasion of a major anniversary in the life of a distinguished man, tend to be tedious. One can more profitably go directly to the writings of the celebrant, as well as other, more voluntary publications of his well-wishers. However, the editors wish to claim that this Festschrift is different. This is so first of all because of the almost unique combination of interests and competence of (...) Henry Margenau. He is at once a distinguished physicist, an equally distinguished educator, and a prominent philosopher. These broad areas of his extraordinarily active and fruitful career are each represented in this volume in his honor, and this constitutes the particular interest of the collection. Without limiting themselves to paraphrases or empty compliments, the contributors to this book range over the scope of interest of Margenau's work, and, acknowledging its influence and significance, present their own viewpoints and conclusions. Since they include some of the most distinguished men in science and philosophy today, the privilege of having them speak to some broadly defined common concerns in a single volume is a rare one, for which our thanks must go to Henry Margenau, who inspired the papers. (shrink)

Islamic environmentalism is an intellectual movement whose representatives discuss contemporary environmental problems in the language of Islamic theology. This field includes Shariah-based environmental law, environmental activism, and environmental philosophy. This article is an overview of the genealogy of this philosophical trend: key names will be listed and their contributions to the development of this movement will be analyzed. For example, the legacy of Sayyid Hossein Nasr, considered the founding father of Islamic environmentalism, will be examined in detail. The religious and (...) ethical program of this philosophical movement will be analyzed in detail. The categorical apparatus to which Islamic eco-activists, philosophers, and ulema turned as the Islamic environmental agenda expanded will also be examined, such as how the concepts of khalifa, hima, and misan were conceptualized. Philosophers whose writings we will turn to include Iraqi philosopher and jurist Mawil Izzi Dien, British eco-activist Fazlun Khalid, Egyptian Grand Mufti Ali Jumaa, and representatives of so-called “Western Islam” Ziauddin Sardar and Tariq Ramadan. The example of Indonesia will be used to examine how Islamic eco-theology has formed the basis of a multilevel environmental policy. The thesis of the fundamental contradiction underlying Islamic environm entalism is put forward. On the one hand, this movement in its present form genetically dates back to the European protest movements of the 1960s and 70s, which opposed the culture of mass consumption, impersonal materialism, and overproduction. On the other hand, an equally important part of the rhetoric of a number of Islamic modernists, including on ecology, is the emphasis on the break with Western neoliberal values. The special role of social media in the promotion of Islamic eco-activism is noted separately. (shrink)