Why do we spend so much of our time passing on amusing anecdotes, making wisecracks,watching The Simpsons? In Inside Jokes, Matthew Hurley, DanielDennett, and Reginald Adams offer an evolutionary and cognitive perspective.

Some things are funny -- jokes, puns, sitcoms, Charlie Chaplin, The Far Side, Malvolio with his yellow garters crossed -- but why? Why does humor exist in the first place? Why do we spend so much of our time passing on amusing anecdotes, making wisecracks, watching _The Simpsons_? In _Inside Jokes_, Matthew Hurley, Daniel Dennett, and Reginald Adams offer an evolutionary and cognitive perspective. Humor, they propose, evolved out of a computational problem that arose when our long-ago ancestors were furnished (...) with open-ended thinking. Mother Nature -- aka natural selection -- cannot just order the brain to find and fix all our time-pressured misleaps and near-misses. She has to bribe the brain with pleasure. So we find them funny. This wired-in source of pleasure has been tickled relentlessly by humorists over the centuries, and we have become addicted to the endogenous mind candy that is humor. (shrink)

BackgroundDeep brain stimulation is approved for treating refractory obsessive-compulsive disorder in adults under the US Food and Drug Administration Humanitarian Device Exemption, and studies hav...

Rapid advancements in artificial intelligence and machine learning (AI/ML) in healthcare raise pressing questions about how much users should trust AI/ML systems, particularly for high stakes clinical decision-making. Ensuring that user trust is properly calibrated to a tool’s computational capacities and limitations has both practical and ethical implications, given that overtrust or undertrust can influence over-reliance or under-reliance on algorithmic tools, with significant implications for patient safety and health outcomes. It is, thus, important to better understand how variability in trust (...) criteria across stakeholders, settings, tools and use cases may influence approaches to using AI/ML tools in real settings. As part of a 5-year, multi-institutional Agency for Health Care Research and Quality-funded study, we identify trust criteria for a survival prediction algorithm intended to support clinical decision-making for left ventricular assist device therapy, using semistructured interviews (n=40) with patients and physicians, analysed via thematic analysis. Findings suggest that physicians and patients share similar empirical considerations for trust, which were primarilyepistemicin nature, focused on accuracy and validity of AI/ML estimates. Trust evaluations considered the nature, integrity and relevance of training data rather than the computational nature of algorithms themselves, suggesting a need to distinguish ‘source’ from ‘functional’ explainability. To a lesser extent, trust criteria were also relational (endorsement from others) and sometimes based on personal beliefs and experience. We discuss implications for promoting appropriate and responsible trust calibration for clinical decision-making use AI/ML. (shrink)

The ongoing debate within neuroethics concerning the degree to which neuromodulation such as deep brain stimulation (DBS) changes the personality, identity, and agency (PIA) of patients has paid relatively little attention to the perspectives of prospective patients. Even less attention has been given to pediatric populations. To understand patients’ views about identity changes due to DBS in obsessive-compulsive disorder (OCD), the authors conducted and analyzed semistructured interviews with adolescent patients with OCD and their parents/caregivers. Patients were asked about projected impacts (...) to PIA generally due to DBS. All patient respondents and half of caregivers reported that DBS would impact patient self-identity in significant ways. For example, many patients expressed how DBS could positively impact identity by allowing them to explore their identities free from OCD. Others voiced concerns that DBS-related resolution of OCD might negatively impact patient agency and authenticity. Half of patients expressed that DBS may positively facilitate social access through relieving symptoms, while half indicated that DBS could increase social stigma. These views give insights into how to approach decision-making and informed consent if DBS for OCD becomes available for adolescents. They also offer insights into adolescent experiences of disability identity and “normalcy” in the context of OCD. (shrink)

In their article, Cho and Martinez-Martin (2023) argue that developers and users of digital simulacra for modelling health and disease should involve a continued focus on causality of health states...

In lieu of an abstract, here is a brief excerpt of the content:How Philosophers Trivialize Art: Bleak House, Oedipus Rex, "Leda and the Swan"Michael D. HurleyIIt is a Perverse but unsurprising irony that answers to the question of whether art can give us knowledge characteristically trivialize that which draws us to individual artworks in the first place. The experience of art is sidelined in favor of the apparent after-effect of that experience. Even those writing against each other tend to converge (...) on this. In an essay contesting Nelson Goodman's epistemic claims for art, Gordon Graham nonetheless agrees that, "The question to be asked of such a work is not, 'Does this effectively capture the scene portrayed?', but 'Does this make us see this sort of occasion differently?'"1 Even attempts to distinguish art as "gift" as opposed to commodity predictably figure its value in terms of what might be taken away: "I went to see a landscape painter's works, and that evening, walking among pine trees near my home, I could see the shapes and the colors I had not seen the day before."2This state of affairs is perversely ironic for two reasons. Firstly, because the possibility of art's cognitive content is only prompted at all by the immediate experience it offers: without this, art would not excite us the way it does and there would be no debate to be had. Secondly, and more significantly, because a defining part of what constitutes an interest in art is, I should like to suggest, an experience of knowledge; or, more accurately, an experience of knowing. This irony is unsurprising because it is merely another expression of a recalcitrant prejudice in western epistemology that idealizes knowledge as an objectively true, justified belief—perforce excluding the possibility of knowing as a subjective [End Page 107] experience of believing. No wonder the author of Theætetus elsewhere finds poets incapable of offering anything but lies.Plato's lingering legacy assures that the cognitive content of art be assized according to what might be extracted from the artwork—cashed in like so many casino chips—when we are done with our experience of it. This applies whether the knowledge-bearing being argued for, or against, is conceptual or propositional (e.g., Putnam, Novitz, John),3 or imaginative (e.g., Goodman, Robinson, Currie),4 as well as for the claim that art can offer us moral instruction (e.g., Beardsmore, Eldridge, Nussbaum, Sharpe, Kieran, John).5 There is less consensus as to whether the capacity of art to give us knowledge enriches the aesthetic value of that artwork, but those who would advance this position have been on the back-foot in recent years following a wave of criticisms from, among others, Beardsley, Lamarque and Olsen, Diffey, and Gaut.6This article addresses art's capacity to give us knowledge as well as the conjunct of whether such knowledge might inform its value qua art. In so doing, it presses a case that has already been disallowed by the terms in which the question of the relationship between art and knowledge is typically put. Whatever efferent knowledge art might offer, it also provides the conditions for a kind of knowing that cannot be translated beyond itself. Only such an experience of knowledge-as-knowing, which is realized through the untranslatable singularity of an artwork, may be considered constitutive of art's aesthetic value. Couched another way: epistemology meets aesthetics not where it has most often been located, in the perfective, at the congruence of the thought and the felt, but in the present continuous, in the engagement of thinking and feeling. Connecting the epistemic and the aesthetic in this way is, then, exactly the opposite proposition to that presented by Douglas Morgan, for whom, "although many words in many arts can and do give us knowledge of many kinds, nonetheless if this knowledge were the key and limit to the love of art, the world of art would be even sorrier than it now is."7IILiterature has generated by far the greatest volume of commentary in the debate on art and knowledge. This is to be expected given the bias towards categorizing knowledge as something like data... (shrink)

This paper is a polemic against the science of linguistics, to the extent that, with its relentlessly reductive methodologies, it has encouraged the marginalization of the aesthetic in literary studies—particularly in the field of metrics. The paper also suggests how this aesthetic imperative might yet be reclaimed through study of the audible reading of poetry.