When observers view a rapidly moving stimulus they may see only a static streak. We report that there can be a transient percept of motion if such a moving stimulus is preceded or followed by a stationary image of that stimulus. A ring of dots was rotated so rapidly observers only saw a continuous outline circle and could not report its rotation direction. When an objectively stationary ring of dots preceded or followed this rotating ring, the stationary ring appeared (...) to visibly launch into motion from a standstill or visibly rotate to a halt, principally in the same direction as the actual rapid rotation. Thus, motions too rapid to be consciously perceived as motion can nonetheless be processed by the visual system, and generate neural transition states that are consciously experienced as motion percepts. We suggest such transition states might serve a unifying function by bridging discontinuous motion states. (shrink)

I examine the reasons Aristotle presents in Physics VIII 8 for denying a crucial assumption of Zeno’s dichotomy paradox: that every motion is composed of sub-motions. Aristotle claims that a unified motion is divisible into motions only in potentiality (δυνάμει). If it were actually divided at some point, the mobile would need to have arrived at and then have departed from this point, and that would require some interval of rest. Commentators have generally found Aristotle’s reasoning unconvincing. Against (...) David Bostock and Richard Sorabji, inter alia, I argue that Aristotle offers a plausible and internally consistent response to Zeno. I defend Aristotle’s reasoning by using his discussion of what to say about the mobile at boundary instants, transitions between change and rest. There Aristotle articulates what I call the Changes are Open, Rests are Closed Rule: what is true of something at a boundary instant is what is true of it over the time of its rest. By contrast, predications true of something over its period of change are not true of the thing at either of the boundary instants of that change. I argue that this rule issues from Aristotle’s general understanding of change, as laid out in Phys. III. It also fits well with Phys. VI, where Aristotle maintains that there is a first boundary instant included in the time of rest, but not a “first in which the mobile began to change.” I then show how this rule underlies Aristotle’s argument that a continuous motion cannot be composed of actual sub-motions. Aristotle distinguishes potential middles, points passed through en route to a terminus, from actual middles. The Changes are Open, Rests are Closed Rule only applies to actual middles, because only they are boundaries of change that the mobile must arrive at and then depart from. On my reading, Aristotle argues that the instant of arrival, the first instant at which the mobile has come to be at the actual middle, cannot belong to the time of the subsequent motion. If it did, the mobile would already be moving towards the next terminus and thus, per Phys. VI 6, would have already left. But it cannot have moved away from the midpoint at the very same moment it has arrived there. This means that the instant of arrival must be separated from the time of departure by an interval of rest. I show how Aristotle’s reasoning applies generally to rule out any continuous reflexive motion or continuous complex rectilinear motion. On my interpretation, however, the argument does not apply to every change of direction. When, as in the case of projectile motion, multiple movers and their relative powers explain why the mobile changes directions, distinct sub-motions are not involved. Aristotle holds that such motions cannot be continuous, not because they involve intervals of rest, but because they involve multiple causes of motion. My interpretation of the Changes are Open, Rests are Closed Rule allows us to make better sense of Aristotle’s argument than any previous interpretation. (shrink)

The question of when and how the basic concepts that characterize modern science arose in Western Europe has long been central to the history of science. This book examines the transition from Renaissance engineering and philosophy of nature to classical mechanics oriented on the central concept of velocity. For this new edition, the authors include a new discussion of the doctrine of proportions, an analysis of the role of traditional statics in the construction of Descartes' impact rules, and go (...) deeper into the debate between Descartes and Hobbes on the explanation of refraction. They also provide significant new material on the early development of Galileo's work on mechanics and the law of fall. (shrink)

Based on concepts of self-organization, we interpret apparent motion as the result of a so-called non-equilibrium phase transition of the perceptual system with the stimulus-onset asynchrony (SOA) acting as a control parameter. Accordingly, we predict a significantly increasing variance of the quality index of apparent motion close to critical SOAs. [Shepard].

ABSTRACTTwo new books about the Pragmatist tradition, Richard Bernstein's The Pragmatic Turn and Colin Koopman's Pragmatism as Transition, represent respectively a summing up of the past half‐century of the tradition's history and a possible program for its future development. Bernstein ecumenically considers the achievements of a wide range of thinkers from Peirce, Dewey, and James to Brandom, Putnam, and Rorty, drawing valuable lessons from each, while not sparing criticism of their flaws. Koopman also tries to bridge the gap between (...) what he calls “classicopragmatism” and “neopragmatism,” although he finds more to admire in Rorty than in his predecessors. Whereas Bernstein attempts to supplement the pragmatist tradition by turning to Habermas, Koopman finds his inspiration in Foucault. Both authors emphasize the historicist, evolutionary, and transitionalist implications of pragmatism, paying as a result insufficient attention to the historical possibilities of repetition, rupture, discontinuity, and the unexpected event. In terms of the political implications they draw, Koopman advocates a meliorist incrementalism that lacks any real bite, while Bernstein expresses dissatisfaction with the democratic pieties of Rorty's final work, but doesn't really provide a sustained alternative. (shrink)

We add to our relational semantics for system r of relevant implication an s4-Type semantics for necessity, Thus furnishing a semantics for system nr (believed to coincide with e). In an nr-Structure m=(o,K,R,S, ), O is in k, Is an operation on k, And r and s are relations on set k which are restrained by reflexivity, Transitivity and monotonicity requirements. Interpretations on m, Which are restricted by an ordering requirement, Are distinguished from modal evaluations by adequate rules for implication (...) and negation. The main work of the paper goes into proving semantical completeness of nr. The semantics is applied to show that rule gamma holds for nr, And that r and nr are reasonable in the sense of hallden and hence have normal characteristic matrices. (shrink)

A mime presented on videotape Adler’s six great ideas of truth, goodness, beauty, liberty, equality, and justice; their opposites; and the transitions from the positive or “good” concepts to their opposites. Using Johansson’s (1973) technique, the performer’s 12 joints were marked with points of light. Overall, the viewers had marginal success in identifying the concepts, but females were much more successful than males in identifying the “bad” ones of evil, slavery, falsehood, and ugliness, averaging 62% correct to the males’ 23%. (...) The results agree with Hall’s (1984) discussion of sex differences in the interpretation of nonverbal behavior. (shrink)

Both Heraclitus and Democritus, as the philosophers of historia peri phuseôs, consider nature and human character, habit, law and soul as interrelated emphasizing the links between phusis, kinesis, ethos, logos, kresis, nomos and daimon. On the one hand, Heraclitus’s principle of change (panta rhei) and his emphasis on the element of fire and cosmic motion ultimately dominate his ethics reinforcing his ideas of change, moderation, balance and justice, on the other, Democritus’s atomist description of phusis and motion underlies (...) his principle of moderation and his ideas of health and measured life. In this series, particularly referring to the main principles of motion, moderation and justice, I attempt to describe a coherent pre-Socratic ethical perspective based on the Heraclitean and Democritean fragments. I explore the connections between their physics and ethics also borrowing from Nietzsche’s lectures and writings on the Pre-Socratics. I redefine such Heraclitean and Democritean concepts as harmony, order, perfection, health, self-control, contentment, cheerfulness, concord, sound judgment, wisdom, measure and balance and discuss them under the principles of motion (phusis), moderation (sophrosyne) and justice. In doing so, I also expose the relevance of the Heraclitean notion of logos (interpreting it as the underlying categorical principle of transition between phusis and ethos) in bringing together these ideas and principles. Finally, based on this pre-Socratic Weltanschauung, I assess the possibility of a coherent picture of humanity, its nature and conduct as extending from or fitting into or extending-from-when-fitting-into the cosmos of moving forces and atoms. (shrink)

While understanding and expressing causal relations are universal aspects of human cognition, language users may differ in their capacity to perceive, interpret, and express events. One source of variation in descriptions of caused motion events is agentivity, which refers to the attribution of a result to the agent's action. Depending on the perspective taken, the same event may be described with agentive or non-agentive interpretations. Does language play a role in how people construe and express caused motion events? (...) The present study investigated the use of agentive vs. non-agentive language by speakers of different languages (i.e., monolingual speakers of English and Korean, and Korean learners of English). All three groups described prototypical causal events similarly, using agentive language (active transitive sentences). However, when it came to non-prototypical causal events (where the agent was not shown in the scene), they diverged in their choice of language: English speakers favored agentive language (passive transitive sentences), whereas Korean speakers preferred non-agentive language (intransitive sentences). Korean learners of English patterned with Korean speakers, demonstrating L1 influence on their use of English. These findings highlight the effects of language on motion event construal. (shrink)

Abstract.As an undergraduate at Cambridge, Newton entered into his ‘Waste Book’ an assumption that we have named the Equivalence Assumption (The Younger): ‘‘ If a body move progressively in some crooked line [about a center of motion]..., [then this] crooked line may bee conceived to consist of an infinite number of streight lines. Or else in any point of the croked line the motion may bee conceived to be on in the tangent.’’ In this assumption, Newton somewhat imprecisely (...) describes two mathematical models, a ‘‘polygonal limit model’’ and a ‘‘tangent deflected model,’’ for ‘‘one-body motion,’’ that is, for the motion of a ‘‘body in orbit about a fixed center,’’ and then claims that these two models are equivalent. In the first part of this paper, we study the Principia to determine how the elder Newton would more carefully describe the polygonal limit and tangent deflected models. From these more careful descriptions, we then create Equivalence Assumption (The Elder), a precise interpretation of Equivalence Assumption (The Younger) as it might have been restated by Newton, after say 1687. We then review certain portions of the Waste Book and the Principia to make the case that, although Newton never restates nor even alludes to the Equivalence Assumption after his youthful Waste Book entry, still the polygonal limit and tangent deflected models, as well as an unspoken belief in their equivalence, infuse Newton’s work on orbital motion. In particular, we show that the persuasiveness of the argument for the Area Property in Proposition 1 of the Principia depends crucially on the validity of Equivalence Assumption (The Elder). After this case is made, we present the mathematical analysis required to establish the validity of the Equivalence Assumption (The Elder). Finally, to illustrate the fundamental nature of the resulting theorem, the Equivalence Theorem as we call it, we present three significant applications: we use the Equivalence Theorem first to clarify and resolve questions related to Leibniz’s ‘‘polygonal model’’ of one-body motion; then to repair Newton’s argument for the Area Property in Proposition 1; and finally to clarify and resolve questions related to the transition from impulsive to continuous forces in ‘‘De motu’’ and the Principia. (shrink)

A new conceptual framework is proposed to situate and integrate the parallel theories of Turchin, Powers, Campbell and Simon. A system is defined as a constraint on variety. This entails a 2 × 2 × 2 classification scheme for “higher‐order” systems, using the dimensions of constraint, (static) variety, and (dynamic) variation. The scheme distinguishes two classes of metasystems from supersystems and other types of emergent phenomena. Metasystems are defined as constrained variations of constrained variety. Control is characterized as a constraint (...) exerted by a separate system. The emergence of hierarchical systems is motivated by evolutionary principles. The positive feedback between variety and constraint, which underlies the “branching growth of the penultimate level,” leads to the interpretation of metasystem transitions as phases of accelerated change in a continuous evolutionary progression toward increasing variety. The most important MSTs in the history of evolution are reinterpreted in this framework: mechanical motion, dissipative structuration, life, multicellular differentiation, sexuality, simple reflex, complex reflex, associating, thinking, metarationality and social interaction. (shrink)

The issue of the biological origin of consciousness is linked to that of its function. One source of evidence in this regard is the contrast between the types of information that are and are not included within its compass. Consciousness presents us with a stable arena for our actions—the world—but excludes awareness of the multiple sensory and sensorimotor transformations through which the image of that world is extracted from the confounding influence of self-produced motion of multiple receptor arrays mounted (...) on multijointed and swivelling body parts. Likewise excluded are the complex orchestrations of thousands of muscle movements routinely involved in the pursuit of our goals. This suggests that consciousness arose as a solution to problems in the logistics of decision making in mobile animals with centralized brains, and has correspondingly ancient roots. (shrink)

One of the most efficient predator-prey models with spatial effects is the one with ratio-dependent functional response. However, there is a need to further explore the effects of spatial motion on the dynamic behavior of population. In this work, we study a ratio-dependent predator-prey model with diffusion terms. The aim of this work is to investigate the changes in predator’s distribution in space as the prey populations change their mobility. We observe that the frequency diffusion of the prey gives (...) rise to the sparse density of the predator. Moreover, we also observe that the increasing rate of the conversion into predator biomass induces pattern transitions of the predator. Specifically speaking, Turing pattern of the predator populations goes gradually from a spotted pattern to a black-eye pattern, with the intermediate state being the mixture of spot and stripe pattern. The simulation results and analysis of this work illustrate that the diffusion rate and the real intrinsic factor influence the persistence of the predator-prey system mutually. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

The principles of Kant's pure physics (conservation of quantity of matter, inertia, equality of action and reaction) are a priori in the same sense as are the principles of the understanding. We account for the empirical content of physics by showing that the pure principles operate as rules for generating wellformed empirical descriptions, and as rules for analysis of motion. The relationship between the metaphysics of matter and empirical descriptions is neither deductive, nor as loose as Buchdahl alleges. Belief (...) that a priori principles will apply to empirical cases requires acceptance of methodological presuppositions, chief among which is the principle of affinity. (shrink)

Isaac Newton's closest approach to a system of the world in the critical period 1681–84 is provided in a set of untitled propositions concerning comets. They drastically revise his position maintained against Flamsteed in 1681 and may signal his adoption of a single comet solution for the appearances of 1680/1. Points of agreement and difference with the key pre-Principia texts of 1684–85 are analysed. He shows substantial control of the phenomena of tails which change very little in mechanical detail throughout (...) his subsequent work. An emerging theory of gravitation brings planets, their satellites, and comets under the same laws of motion, yet retains a celestial vortex and includes a singular proposition in lieu of the usual formulation of Keplers area law. The analysis raises questions on a number of issues of recent Newtonian scholarship ranging from his achievement following his correspondence with Robert Hooke in 1679 to his veneration of the wisdom of the ancients. (shrink)

Motivated by analogous applications to sonoluminescence, neutron stars mergers are examined in the context of Schwinger's dynamical Casimir effect. When the dielectric properties of the QED vacuum are altered through the introduction of dense matter, energy shifts in the zero-point fluctuations can appear as photon bursts at gamma-ray frequencies. The amount of radiation depends upon the properties and amount of matter in motion and the suddenness of the transition. It is shown that the dynamical Casimir effect can convert (...) sufficient energy of neutron star mergers into gamma rays. Using information extracted from simulations of matter flow in neutron star mergers by Ruffert and Janka, we estimate that the total Casimir energy released can exceed 10 53 ergs in gamma-ray frequencies. The Casimir energy approach is capable of explaining the most energetic gamma-ray bursts. (shrink)

James A. Diefenbeck, Wayward Reflections on the History ofPhilosophyThomas R. Flynn Sartre, Foucault and Historical Reason. Volume 1:Toward an Existential Theory of HistoryMark Golden and Peter Toohey Inventing Ancient Culture:Historicism, Periodization and the Ancient WorldZenonas Norkus Istorika: Istorinis IvadasEverett Zimmerman The Boundaries of Fiction: History and theEighteenth‐Century British Novel.

Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and (...) phusis and present them in unity. Here, referring to Heraclitean, Kantian, Nietzschean and Heideggerian metaphysics and aesthetics, I propose that the principles of motion and transition be the new cosmologic-aesthetic categories for the judgment of sublime artworks as well as for the understanding of the world (Weltanschauung) they represent. (shrink)

Virtuosity in music performance is often associated with fast, precise, and efficient sound-producing movements. The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for technology-enhanced learning (...) systems, assisting and supporting students during their individual practice sessions by giving feedback and helping them to adopt sustainable movement patterns. In this study, we propose to assess fluency in musical performance as the ability to smoothly and efficiently coordinate while accurately performing slow, transitionary, and rapid movements. To this end, the movements of three cello players and three drummers at different levels of skill were recorded with an optical motion capture system, while a wireless electromyogrphy (EMG) system recorded the corresponding muscle activity from relevant landmarks. We analyze the kinematic and coarticulation characteristics of these recordings separately and then propose a combined model of fluency in musical performance predicting music sophistication. Results suggest movements from expert performers' are characterized by consistently smooth strokes and scaling of muscle phasic coactivation. The explored model of fluency as function of movement smoothness and coarticulation patterns was shown to be limited by the sample size but serves as a proof of concept. Results from this study show the potential of a technology-enhanced objective measure of fluency in musical performance, which could lead to improved practices for aspiring musicians, instructors, and researchers. (shrink)

Cinema Derrida charts Jacques Derrida's collaborations and appearances in film, video, and television beginning with 1983's Ghost Dance (dir. Ken McMullen, West Germany/UK) and ending with 2002's biographical documentary Derrida (dir. Dick and Ziering, USA). In the last half of his working life, Derrida embraced popular art forms and media in more ways than one: not only did he start making more media appearances after years of refusing to have his photo taken in the 1960s and 1970s, but his philosophy (...) started to draw more explicitly from visual culture and artistic endeavours. While this book offers explanations of this transition, it contends the image of "Jacques Derrida" that emerges from film and TV appearances remains spectral, constantly deferring a complete grasp of him. Tyson Stewart draws out the main tenets of spectrality from Derrida's seminal texts Of Grammatology and Specters of Marx and other writings, like Echographies of Television, in order to fill a gap in studies of Derrida and film. Throughout the book, he explains how various techniques and spectral effects such as slow motion, stillness, repetition, mise-en-abîme, direct address, and focus on body parts/bodily presence bring about a structure of spectrality wherein the past other returns to make impressions and ethical demands on the viewer. Drawing on communication theory and film and media studies, Cinema Derrida makes a major intervention in classical communication thought. (shrink)

This chapter examines questions having to do with whether and how things persist through change and how things do so If they do persist. Next, assuming that intrinsic change does take place, the chapter examines two principal views about how things persist through change of intrinsic properties, Substratism and Replacementism. It focuses on the specific but very important case of motion, or change of location. There are three major theories: Intrinsic Motion; Bertrand Russell's At/At Theory, and an Aristotelian (...) theory (Motion Intervalism). The chapter also considers the problem of the persistence of composite objects, including objects that can gain or lose parts. Replacementists might consider taking on board a metaphysically fundamental genidentity relation. Substratists have an explanation for the reflexivity, symmetry, and transitivity of genidentity, something that Classical Genidentity Theorists have to posit as a brute metaphysical necessity. This provides the Substatists with an advantage in terms of Ockham's Razor. (shrink)

Brouwer’s intuitionistic program was an intriguing attempt to reform the foundations of mathematics that eventually did not prevail. The current paper offers a new perspective on the scientific community’s lack of reception to Brouwer’s intuitionism by considering it in light of Michael Friedman’s model of parallel transitions in philosophy and science, specifically focusing on Friedman’s story of Einstein’s theory of relativity. Such a juxtaposition raises onto the surface the differences between Brouwer’s and Einstein’s stories and suggests that contrary to Einstein’s (...) story, the philosophical roots of Brouwer’s intuitionism cannot be traced to any previously established philosophical traditions. The paper concludes by showing how the intuitionistic inclinations of Hermann Weyl and Abraham Fraenkel serve as telling cases of how individuals are involved in setting in motion, adopting, and resisting framework transitions during periods of disagreement within a discipline. (shrink)

This chapter contains sections titled: Ptolemy and Copernicus A Clash of Two Worldviews The Heliocentric Worldview Copernicus was not a Scientific Revolutionary The Transition to Newton Some Philosophical Lessons Copernicus and Scientific Revolutions The Anthropic Principle: A Reversal of the Copernican Turn? Reading List Essay Questions.

This paper aims at tracking down, by looking at late medieval and early modern discussions over the ontological status of artifacts, the main steps of the process through which nature became theorized on a mechanistic model in the early 17th century. The adopted methodology consists in examining how inventions such as mechanical clocks and automata forced philosophers to modify traditional criteria based on an intrinsic principle of motion and rest for defining natural beings. The paper studies different strategies designed (...) in the transitional period 1300–1600 for making these inventions compatible with classical definitions of nature and artifacts. In the first part of the paper, it is shown that, even if virtually all medieval philosophers acknowledged an ontological distinction between artifacts and natural beings, these different strategies demonstrate a growing concern about the consistency of the art/nature distinction. The next part of the paper studies how mechanical clocks, even before the Scientific Revolution, served as theoretical models for applying mechanistic views to different objects (be they cosmological, physical or biological). The epistemological function of clocks appears to stem from different factors (like the specific manufacturing of late medieval clocks as well as the evolution of 16th-century mechanics) that are listed in this second part of the paper. These factors, combined with the definitional issues raised by automata, explain that clocks became the symbol of a new approach to natural philosophy, characterized by the collapse of the art/nature distinction and the “mechanization of nature”. (shrink)

The classical response to Zeno’s paradoxes goes like this: ‘Motion cannot properly be defined within an instant. Only over a period’ (Vlastos.) I show that this ob-jection is exactly what it takes for Zeno to be right. If motion cannot be defined at an instant, even though the object is always moving at that instant, motion cannot be defined at all, for any longer period of time identical in content to that instant. The nonclassical response introduces discontinuity, (...) to evade the paradox of infinite proximity of any point of a distance with any ‘next’. But it introduces the wrong sort of discontinuity because, rather than assuming the discontinuity of motion, as Quantum Theory does, it assumes the discontinuity of space. Due then to the resulting spacetime disorder, though all else is certainly lost, the Tortoise now turns up at least as fast as Achilles and hence not even this much is rescued. Zeno rejects motion because he shows that a moving object must be where it is not. Hence motion, if to occur, must violate the Law of Contradiction (LNC). Applying the concept of quantum discontinuity, I produce an alternative. If an object is to move discontinuously between two boundary points, A and B, what actually obtains is, rather, that it is nowhere at all in-between A and B. And cannot therefore be at two places in-between A and B. And cannot therefore be where it is not. Thus, LNC is conserved. However, in these conditions, the Law of the Excluded Middle (LEM) fails. To mitigate the undesirability of this effect, I show that LEM fails because LNC holds. Thus, the resulting nonbivalent logic, which is also appropriate for quantized transitions of all kinds, will always turn up nonbivalent, because consistent. And this is not too bad, considering. (shrink)

Complex-transitive argument structures have received a large amount of attention from syntacticians of both formalist and cognitive-functional orientations. To account for expressions with causative resultative meanings, construction grammar has postulated a family of argument-structure constructions whose core is constituted by the Caused-Motion Construction and the Resultative Construction, exhibiting a locative complement and a predicative complement in the form of an AjP, respectively. Argument structures with NP complements, however, have been largely neglected. The present study investigates these patterns in the (...) International Corpus of English (ICE-GB) by means “collostruction analysis”. It shows that the formal distinction between AjP and NP complements corresponds to a constructional distinction hitherto unrevealed, viz. that between the Resultative Construction and another argument-structure construction, here called the “Denominative Construction”. Apart from improving existing descriptions of the network of complex-transitive argument-structure constructions, this study demonstrates that collostruction analysis can be employed in an exploratory way to discover constructions. (shrink)

This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of (...) his philosophy of natural science, but also his arguments for the phenomenal validity of the metaphysical foundations, his teachings on the aesthetic human faculties of judgment and Anschauung, and the discernment of the transcendental philosophy from Platonic idealism carrying it to a cosmological level, i.e. Kant’s insertion of the concept of cosmotheoros. Since the process of transition is an aesthetic process based on human senses, intuitions and judgments, the argument will follow that in order to explicate Übergang, we need to reconcile cosmology, as the oldest branch of philosophy dealing with the interactions between the cosmic forces and the ways they affect human life, with aesthetics, as the youngest branch of philosophy dealing with how we sense, intuit and judge the form and motion of matter. Therefore, in the last analysis, Übergang becomes rather a cosmologic-aesthetic principle similar to the Heraclitean logos. Another building block of the paper is the fruitful comparison between the Kantian sublime and Nietzschean Dionysian, which are going to be construed as the aesthetic theories on human understanding representing the transition from nature to art. For they are not only conceptual – aesthetic but also dynamic – cosmological theories due to their reference both to nature and to human nature. (shrink)

This book is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of (...) his philosophy of natural science, but also his arguments for the phenomenal validity of the metaphysical foundations, his teachings on the aesthetic human faculties of judgment and Anschauung, and the discernment of the transcendental philosophy from Platonic idealism carrying it to a cosmological level, i.e. Kant’s insertion of the concept of cosmotheoros. Since the process of transition is an aesthetic process based on human senses, intuitions and judgments, the argument will follow that in order to explicate Übergang, we need to reconcile cosmology, as the oldest branch of philosophy dealing with the interactions between the cosmic forces and the ways they affect human life, with aesthetics, as the youngest branch of philosophy dealing with how we sense, intuit and judge the form and motion of matter. Therefore, in the last analysis, Übergang becomes rather a cosmologic-aesthetic principle similar to the Heraclitean logos. Another building block of the book is the fruitful comparison between the Kantian sublime and Nietzschean Dionysian, which are going to be construed as the aesthetic theories on human understanding representing the transition from nature to art. For they are not only conceptual – aesthetic but also dynamic – cosmological theories due to their reference both to nature and to human nature. Finally, Cosmological Aesthetics employs the principles of transition and motion to analyze Van Gogh’s Starry Night in an excursus. (shrink)

Death narratives, nurturance, and transitive crossings within species and between species open pathways into entanglements of life of earth. This paper engages with time in both sequential and synchronous modes, investigating interfaces where time, species, and nourishment become densely knotted up in ethics of gift, motion, death, life, and desire. The further aim is to consider the dynamic ripples generated by anthropogenic mass death in multispecies knots of ethical time, and to gesture toward a practice of writing as witness.

Gödel’s incompleteness applies to any system with recursively enumerable axioms and rules of inference. Chaitin’s approach to Gödel’s incompleteness relates the incompleteness to the amount of information contained in the axioms. Zurek’s quantum Darwinism attempts the physical description of the universe using information as one of its major components. The capacity of quantum Darwinism to describe quantum measurement in great detail without requiring ad-hoc non-unitary evolution makes it a good candidate for describing the transition from quantum to classical. A (...) baby-universe diffusion model of cosmic inflation is analyzed using quantum Darwinism. In this model cosmic inflation can be approximated as Brownian motion of a quantum field, and quantum Darwinism implies that molecular interaction during Brownian motion will make the quantum field decohere. The quantum Darwinism approach to decoherence in the baby-universe cosmic-inflation model yields the decoherence times of the baby-universes. The result is the equation relating the baby-universe’s decoherence time with the Hubble parameter, and that the decoherence time is considerably shorter than the cosmic inflation period. (shrink)

Quantum Theory, similar to Relativity Theory, requires a new concept of space-time, imposed by a universal constant. While velocity of lightcnot being infinite calls for a redefinition of space-time on large and cosmological scales, quantization of action in terms of a finite, i.e. non vanishing, universal constanthrequires a redefinition of space-time on very small scales. Most importantly, the classical notion of “time”, as one common continuous time variable and nature evolving continuously “in time”, has to be replaced by an infinite (...) manifold of transition rates for discontinuous quantum transitions. The fundamental laws of quantum physics, commutation relations and quantum equations of motion, resulted from Max Born’s recognition of the basic principle of quantum physics:To each change in nature corresponds an integer number of quanta of action. Action variables may only change by integer values ofh, requiring all other physical quantities to change by discrete steps, “quantum jumps”. The mathematical implementation of this principle led to commutation relations and quantum equations of motion. The notion of “point” in space-time looses its physical significance; quantum uncertainties of time, position, just as any other physical quantity, are necessary consequences of quantization of action. (shrink)

Victor Fan's dialogue between Buddhism and Euro-American philosophy is the first of its kind in film and media studies. From Chinese queer cinema to a reexamination of Japanese master Ozu's work and its historical reception to Christian Petzold's 2018 existential thriller Transit, Cinema Illuminating Reality forges a remarkable path between Buddhist studies and cinema studies, casting vital new light on both of these important subjects.

The paper considers the symmetries of a bit of information corresponding to one, two or three qubits of quantum information and identifiable as the three basic symmetries of the Standard model, U(1), SU(2), and SU(3) accordingly. They refer to “empty qubits” (or the free variable of quantum information), i.e. those in which no point is chosen (recorded). The choice of a certain point violates those symmetries. It can be represented furthermore as the choice of a privileged reference frame (e.g. that (...) of the Big Bang), which can be described exhaustively by means of 16 numbers (4 for position, 4 for velocity, and 8 for acceleration) independently of time, but in space-time continuum, and still one, 17th number is necessary for the mass of rest of the observer in it. The same 17 numbers describing exhaustively a privileged reference frame thus granted to be “zero”, respectively a certain violation of all the three symmetries of the Standard model or the “record” in a qubit in general, can be represented as 17 elementary wave functions (or classes of wave functions) after the bijection of natural and transfinite natural (ordinal) numbers in Hilbert arithmetic and further identified as those corresponding to the 17 elementary of particles of the Standard model. Two generalizations of the relevant concepts of general relativity are introduced: (1) “discrete reference frame” to the class of all arbitrarily accelerated reference frame constituting a smooth manifold; (2) a still more general principle of relativity to the general principle of relativity, and meaning the conservation of quantum information as to all discrete reference frames as to the smooth manifold of all reference frames of general relativity. Then, the bijective transition from an accelerated reference frame to the 17 elementary wave functions of the Standard model can be interpreted by the still more general principle of relativity as the equivalent redescription of a privileged reference frame: smooth into a discrete one. The conservation of quantum information related to the generalization of the concept of reference frame can be interpreted as restoring the concept of the ether, an absolutely immovable medium and reference frame in Newtonian mechanics, to which the relative motion can be interpreted as an absolute one, or logically: the relations, as properties. The new ether is to consist of qubits (or quantum information). One can track the conceptual pathway of the “ether” from Newtonian mechanics via special relativity, via general relativity, via quantum mechanics to the theory of quantum information (or “quantum mechanics and information”). The identification of entanglement and gravity can be considered also as a ‘byproduct” implied by the transition from the smooth “ether of special and general relativity’ to the “flat” ether of quantum mechanics and information. The qubit ether is out of the “temporal screen” in general and is depicted on it as both matter and energy, both dark and visible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:arrêt sur visagefrom Hatred of Translation1Nathanaël (bio)or else isolated in silence—Danielle Collobert, Ça des motsIn the language of film there are often extraordinary divergences between English and French, which prove at times to be irreconcilable.2 If this tendency toward discrepancy is true of translation as a rule, it reveals itself to be particularly true in the case of this work in translation. Danielle Collobert's Recherche,3 rendered as Research, in (...) which the search of re-search must be read as detachable, with emphasis on its repetitive motion—but also in its slide from substantive to predicate (search>searches)—makes salient such divergences, through the implied camera movement panning over the evacuated faces of A and B and the marked distances especially that define the space of their bodies, in proximity and in remove, as though the text were annotating a form of recusal that is implicit in the spaces of desire to which their mortiferous movements owe everything; an intimacy of anticipated death, and seizure, from which the camera extracts movements of degradation through violent stillness.Indeed the term still here is adopted to render the French arrêt, proposing a false equivalency between the (film) still and its seemingly concordant locution, the arrêt (sur image). These are "attested" terms that reveal something of the contexts in which each seeks to function. In Recherche Collobert limits herself [End Page 138] to the use of arrêt sur, designating in each instance a specific detail on which the camera is to stop. "Stop" of course is one of the translations of the lone substantive "arrêt," which also implies "arrest" (from the verb arrêter), replete with its juridical (enforceable/enforcible) intent.4One might just as readily translate "arrêt sur" as "stop at," stopping at nothing to achieve the irresistible demands of such a transitive language that subverts its own objectivity through a persistent preference for passive forms, abdicating one's responsibility to the law in abject deference to its capital aims. Regimens of grammar are coincident with regimens of power now as always.5More than one frontier has now been crossed, and reading the three works6 gathered by Françoise Morvan under the title Expériences (experiments and/ or experiences) in this so-called America is a serious transposition indeed in which the sands of north-western France adjoining the virulent Atlantic, may readily allow themselves to be supplanted by an imagined far-ouest of burnt deserts shimmering with radioactive particulate, under some gun. These are voided investigations that succeed only in subtracting the body from its criminality—a condemnation of ages pressed into moments, a crime committed to each and every one.Meurtre (Murder), the title of Collobert's first acknowledged work,7 is just as operative in these cinematic and radiophonic works; indeed, it can be read as a mot d'ordre for her entire oeuvre,8 and with which its entire topography is suffused. The stills of Recherche and "Polyphonie" attest to this, as does the recurrence of the isolate arrêt, whether in its designation of a bus stop or a pause in action (breaks in the fight, for example, between B and the man on the dock), toppling into the near untranslatable arrêts in the plural, stops, which invites, again, a transitive reading rather than the congealment of the plural substantive, and this, in keeping with the stares that transfix and bore into the faces verging on the dunes. The polysemic displacement of arrêt is such that the cumulative effect of its multiply transposed sense is that of a filmstrip caught in a projector, and it isn't clear whether the image is held or whether it is caught in the mechanism; in either case, the reader is among those held captive by a language that forbids release, burrowing instead, more deeply, into a thickeningly menacing interiority with its inscription of fear similar to that elicited by the perceived approach of the beast in Kafka's "The Burrow." The time of exposure holds the permanent promise of such a threat. [End Page 139]Nathanaël Nathanaël... (shrink)

We discuss the main results of Linear Stochastic Electrodynamics, starting from a reformulation of its basic assumptions. This theory shares with Stochastic Electrodynamics the core assumption that quantization comes about from the permanent interaction between matter and the vacuum radiation field, but it departs from it when it comes to considering the effect that this interaction has on the statistical properties of the nearby field. In the transition to the quantum regime, correlations between field modes of well-defined characteristic frequencies (...) arise, which coincide with the transition frequencies of quantum mechanics and are therefore directly related with the energy quantization. The Heisenberg equations of motion of (non-relativistic) quantum electrodynamics are thus obtained. After a detailed consideration of the significance of the approximations made, we present a discussion on some of the most delicate or controversial features of quantum mechanics from the perspective provided by the present theory. (shrink)

Marxism has often been associated with two different legacies. The first rests on a strong exposition and critique of the logic of capitalism, grounded in a systematic analysis of the laws of motion of capitalism as a system. The second legacy refers to a strong historicist perspective grounded in a conception of social relations that emphasises the centrality of power and social conflict to the analysis of history. This article challenges the prominence of structural accounts of capitalism by showing (...) how the tension between these legacies has played out within Political Marxism, both orientations already having co-existed, somewhat uneasily, within Robert Brenner’s original contributions to the Transition Debate. Through this internal critique and re-formulation of Political Marxism, we wish to open a broader debate within Marxism on the need for a more agency-based account of capitalism, which builds more explicitly on the concept of social relations, to recover the historicist legacy of Marxism. (shrink)

A productive way to think about imagistic mental models of physical systems is as though they were sources of quasi‐empirical evidence. People depict or imagine events at those points in time when they would experiment with the world if possible. Moreover, just as they would do when observing the world, people induce patterns of behavior from the results depicted in their imaginations. These resulting patterns of behavior can then be cast into symbolic rules to simplify thinking about future problems and (...) to reveal higher order relationships. Using simple gear problems, three experiments explored the occasions of use for, and the inductive transitions between, depictive models and number‐based rules. The first two experiments used the convergent evidence of problem‐solving latencies, hand motions, referential language and error data to document the initial use of a model, the induction of rules from the modeling results, and the fallback to a model when a rule fails. The third experiment explored the intermediate representations that facilitate the induction of rules from depictive models. The strengths and weaknesses of depictive modeling and more analytic systems of reasoning are delineated to motivate the reasons for these transitions. (shrink)

Note: Sections at a more advanced level are indicated by ∞. Preface ix Acknowledgments x Introduction 1 I Nicolaus Copernicus: The Loss of Centrality 3 1 Ptolemy and Copernicus 3 2 A Clash of Two Worldviews 4 2.1 The geocentric worldview 5 2.2 Aristotle’s cosmology 5 2.3 Ptolemy’s geocentrism 9 2.4 A philosophical aside: Outlook 14 2.5 Shaking the presuppositions: Some medieval developments 17 3 The Heliocentric Worldview 20 3.1 Nicolaus Copernicus 21 3.2 The explanation of the seasons 25 3.3 (...) Copernicus and the Copernican turn 28 3.3.1 A philosophical aside: From empirical adequacy to theoretical validity 32 3.4 Copernicus consolidated: Kepler and Galileo 32 4 Copernicus was not a Scientifi c Revolutionary 37 4.1 The Copernican method 39 4.2 The relativity of motion 42 5 The Transition to Newton 43 5.1 On hypotheses 45 6 Some Philosophical Lessons 47 6.1 The loss of centrality 48 6.2 Was Copernicus a realist? 51 6.2.1 Lessons for instrumentalism and realism 52 6.3 Modern realism 55 6.4 The underdetermination of theories by evidence 58 6.4.1 The Duhem--Quine thesis 59 ∞ 6.4.2 The power of constraints 61 ∞ 6.5 Theories, models, and laws 64 ∞ 6.5.1 Theories and models 64 ∞ 6.5.2 Laws of nature, laws of science 68 ∞ 6.5.3 Philosophical views of laws 69 ∞ 6.5.3.1 The inference view 69 ∞ 6.5.3.2 The regularity view 70 ∞ 6.5.3.3 The necessitarian view 73 ∞ 6.5.3.4 The structural view 75 7 Copernicus and Scientifi c Revolutions 77 8 The Anthropic Principle: A Reversal of the Copernican Turn? 83 Reading List 87 Essay Questions 91 II Charles Darwin: The Loss of Rational Design 93 1 Darwin and Copernicus 93 2 Views of Organic Life 94 2.1 Teleology 94 2.1.1 The Great Chain of Being 97 2.1.2 Design arguments 99 2.1.3 Jean Baptiste Lamarck 104 3 Fossil Discoveries 106 3.1 Of bones and skeletons 108 3.2 The antiquity of man 110 4 Darwin’s Revolution 112 4.1 The Darwinian view of life 114 4.1.1 Principles of evolution 116 4.2 The descent of man 119 5 Philosophical Matters 124 5.1 Philosophical presuppositions: Mechanical worldview, determinism, materialism 125 5.2 From biology to the philosophy of mind 129 5.2.1 Empiricism 129 5.2.2 Philosophy of mind 132 5.2.3 Emergent minds 134 5.3 The loss of rational design 136 5.4 Intelligent design 139 6 A Question of Method 143 6.1 Darwinian inferences 143 6.2 Philosophical empiricism 147 6.3 Some principles of elimination 149 ∞ 6.4 Essential features of eliminative induction 150 6.5 Falsifi ability or testability? 155 6.6 Explanation and prediction 157 ∞ 6.7 Some models of scientifi c explanation 159 ∞ 6.7.1 Hempel’s models 160 ∞ 6.7.2 Functional models 161 ∞ 6.7.3 Causal models 163 6.7.3.1 A counterfactual-interventionist account 163 6.7.3.2 A conditional model of causation 165 ∞ 6.7.4 Structural explanations 169 6.8 A brief return to realism 172 6.9 Darwin and scientifi c revolutions 174 6.9.1 Philosophical consequences 176 Reading List 177 Essay Questions 183 III Sigmund Freud: The Loss of Transparency 185 1 Copernicus, Darwin, and Freud 185 2 Some Views of Humankind 187 2.1 Enlightenment views of human nature 188 2.2 Nietzsche’s view of human nature 190 3 Scientism and the Freudian Model of Personality 191 3.1 Freud’s model of the mind 192 3.1.1 A summary of psychoanalytic theory 192 3.1.2 Analogy with physics 195 3.1.3 Freud as an Enlightenment thinker 200 3.1.4 The scientifi c status of the Freudian model 202 3.1.4.1 Freud’s methods 202 ∞ 3.1.4.2 The method of eliminative induction, again 205 3.1.5 Freud stands between the empirical and the hermeneutic models 208 3.1.6 The role of mind in the social world 209 4 The Social Sciences beyond Freud 210 4.1 Two standard models of the social sciences -- some history 210 4.1.1 The naturalistic model 211 4.1.2 The hermeneutic model 213 4.2 Essential features of social science models 218 4.2.1 Essential features of the naturalistic model 218 4.2.2 Essential features of the hermeneutic model 221 4.3 Questions of methodology 224 ∞ 4.3.1 What is Verstehen? 225 ∞ 4.3.2 Weber’s methodology of ideal types 229 ∞ 4.3.3 Verstehen and objectivity 234 ∞ 4.4 Causation in the social sciences 236 ∞ 4.4.1 Weber on causation 236 ∞ 4.4.2 On the existence of social laws 239 4.4.3 Explanation and prediction in the social sciences 242 4.4.4 Underdetermination 243 4.4.5 Realism and relativism 244 ∞ 4.4.6 Reductionism and functionalism 248 5 Evolution and the Social Sciences 253 5.1 Sociobiology -- the fourth revolution? 254 5.2 Evolutionary psychology 257 6 Freud and Revolutions in Thought 261 6.1 Revolutions in thought vs. revolutions in science 263 Reading List 263 Essay Questions 269 Name Index 271 Subject Index 274. (shrink)