The new edition of Manning Marable’sBeyond Black and Whiteseeks to explain the course of black politics in the United States over the last thirty years. Marable argues that this history shows the failure of liberal and nationalist politics to address the problems facing black Americans. Though Marable attempts to chart a course beyond these ideologies, his alternative of ‘transformative politics’, shorn of the revolutionary Marxism that defined his earlier writings, is no more capable of confronting racial inequality than the strategies (...) it seeks to replace. (shrink)

The new edition of Manning Marable’sBeyond Black and Whiteseeks to explain the course of black politics in the United States over the last thirty years. Marable argues that this history shows the failure of liberal and nationalist politics to address the problems facing black Americans. Though Marable attempts to chart a course beyond these ideologies, his alternative of ‘transformative politics’, shorn of the revolutionary Marxism that defined his earlier writings, is no more capable of confronting racial inequality than the strategies (...) it seeks to replace. (shrink)

Jeffrey B. Perry’s biography of Hubert Harrison restores the legacy of a central figure in the history of Black radicalism. Though largely forgotten today, Harrison was acknowledged by his early-twentieth-century peers as ‘the father of Harlem radicalism’. Author of pioneering analyses of white supremacy’s role in American capitalism, proponent of armed self-defence among African-Americans, and anti-colonial intellectual, Harrison played a central role in the development of Black politics in the United States. This review traces Harrison’s journey from socialist organiser (...) to Black nationalist, considering its implications for the history of American radicalism. (shrink)

In this paper we describe a test for Nijhout's hypothesis that the eyespot patterns on butterfly wings are the result of a threshold reaction of the epidermal cells to a concentration gradient of a diffusing degradable morphogen produced by focal cells at the centre of the future eyespot. The wings of the nymphalid butterfly, Bicyclus anynana, have a series of eyespots, each composed of a white pupil, a black disc and a gold outer ring. In earlier extirpation and transplantation (...) experiments it has been established that these eyespots are indeed organised around groups of signalling cells active during the first hours of pupal development. If these cells were to supply the positional information for eyespot formation in accordance with Nijhout's diffusion-degradation gradient model, then, when two foci are close together, the signals should sum, and this effect should be apparent in the detailed shape of the resulting pigment pattern. We give an equation for the form of the contours that would be obtained in this manner. We use this to test the morphogen gradient hypothesis on measurements of the outlines of fused eyespots obtained either by grafting focal cells close together, or by using a mutation that produces adjacent fused eyespots. The contours of the fused patterns were found to satisfy our equation, thus corroborating Nijhout's hypothesis to the extent possible with this particular type of experiment. (shrink)

The Monographs produced by the International Agency for Research on Cancer (IARC) apply rigorous procedures for the scientific review and evaluation of carcinogenic hazards by independent experts. The Preamble to the IARC Monographs, which outlines these procedures, was updated in 2019, following recommendations of a 2018 expert Advisory Group. This article presents the key features of the updated Preamble, a major milestone that will enable IARC to take advantage of recent scientific and procedural advances made during the 12 years since (...) the last Preamble amendments. The updated Preamble formalizes important developments already being pioneered in the Monographs Programme. These developments were taken forward in a clarified and strengthened process for identifying, reviewing, evaluating and integrating evidence to identify causes of human cancer. The advancements adopted include strengthening of systematic review methodologies; greater emphasis on mechanistic evidence, based on key characteristics of carcinogens; greater consideration of quality and informativeness in the critical evaluation of epidemiological studies, including their exposure assessment methods; improved harmonization of evaluation criteria for the different evidence streams; and a single-step process of integrating evidence on cancer in humans, cancer in experimental animals and mechanisms for reaching overall evaluations. In all, the updated Preamble underpins a stronger and more transparent method for the identification of carcinogenic hazards, the essential first step in cancer prevention. (shrink)

Despite an abundance of academic conferences, clinical ethicists lacked a forum to share innovative practices with peers and to generate solutions to common challenges. Organizers of the first Clinical Ethics Un-Conference developed a working event centered on active participation and problem solving through peer learning, with the goal of improving realworld practice. Registrants included 95 individuals from 64 institutions. Attendees were surveyed immediately after the Un-Conference, and again eight months later. After eight months, 85 percent (n = 33/39) of the (...) survey respondents reported that they found the event “highly impactful” or “some-what impactful” to their clinical practice, and 23 attendees reported that they had implemented ideas or projects inspired by the event. Three sets of best practice guidelines and four white papers were published from the event. As the field of clinical ethics continues to advance and evolve, this working event format offers an innovative, disruptive alternative to a traditional conference format and may serve as a model for future efforts aimed at improving real-world clinical ethics practice. (shrink)

contents -/- ONT vol 1 i. short review: Beyond the Black Rainbow ii. as you die, hold one thought iii. short review: LA JETÉE -/- ONT vol 2 i. maya means ii. short review: SANS SOLEIL iii. vocab iv. eros has an underside v. short review: In the Mood for Love -/- ONT vol 3 i. weed weakens / compels me ii. an Ender's Game after-party iii. playroom is a realm of the dead iv. a precise german History v. short (...) review: STATUES ALSO DIE vi. Kenneth Clark, curator for Fascism vii. a protest poem, in industry lit viii. Lawrence and the English Romance -/- ONT vol 4 i. short review: The Eyes of Tammy Faye ii. vR is efficient R iii. all thru Asia, robes for monks iv. same of God, and of the one God sent v. i thought of the Messiah / muse would be vi. conscience is strong vii. a monk's exalted end -/- ONT vol 5 -/- i. for Shakespeare's Richard the Third ii. the truth is i pass over so many words iii. the boori nazar / nadhar iv. i've awe for jihaad v. short review: Hail, Caesar! vi. a minute of Nothing, gone from YouTube vii. we were rivalrous friends, again viii. my bardo pdf ix. within i'm a weak old mandarin -/- ONT vol 6 i. short review: The Intern ii. the confusion of Chinatown iii. we'll remember water, in Theology iv. Respironics versus ResMed v. i'd bet my life for what vi. the Mad Max deity vii. they'd kill my rat, not heal him -/- ONT vol 7 i. Austen would eroticize all life ii. Merchant/Ivory, a name oddly right iii. Ellie Arroway / Agent Starling iv. abattoir / l’abattoir / laboratoire v. von Neumann's brain an anomaly vi. was terrified of death, delighted in the a-bomb vii. the Greatest Brain is variously named -/- ONT vol 8 i. the day they shot the sacrifice ii. Yay or Nay, on Animal Testing iii. an ought is an is / an is is an ought iv. Behaviorism is for zombies v. a finding from the neuro-lab, on empathy vi. i’ve never had discernible abs vii. a cowardice i'm assenting to perpetually -/- ONT vol 9 i. Day of the Locust / Triffids ii. we're wide on a Paramount soundstage iii. HOLLYWOOD, an ecologic history iv. yet one more site of end-time art v. he's "a bookworm with bulging lobes" vi. apartment is my state of being apart vii. enlightenment means a weight's release -/- ONT lates and xtras i. re Gödel's ontological argument ii. deep in pi's numeric noise iii. from Nothing, something iv. endless in the wrong direction, tragic v. they give you all Eternity to answer vi. what of God's mercy? vii. informed consent and prayer viii. i won't live on. a deed i've done may ix. my selective memory x. Janus means: in close-up foam, two faces xi. a liveable world is a readable world xii. what Supervenes from this? xiii. at each extreme our naming is anachronism xiv. Cat is a collapsing of the wave-function xv. diminishing returns in the history of Experiment xvi. all those undershared Nobels xvii. ice preserves the Cold from heat xviii. a desert spreads xix. Pinker's wit, on jokes xx. Rome surrounds St. Paul / Paul is now the center xxi. each is a gathering Ministry xxii. white boy shot execution-style xxiii. the McDonald's Statement of Claim xxiv. first & last: Don Quixote / Ulysses xxv. The Summer of Rave xxvi. this electro is intrinsically anonymous xxvii. all thru Asia, Drake-Rihanna xxviii. WHO IS BETTER: PLATON OR KANT? (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

Arthur W. H. Adkins's writings have sparked debates among a wide range of scholars over the nature of ancient Greek ethics and its relevance to modern times. Demonstrating the breadth of his influence, the essays in this volume reveal how leading classicists, philosophers, legal theorists, and scholars of religion have incorporated Adkins's thought into their own diverse research. The timely subjects addressed by the contributors include the relation between literature and moral understanding, moral and nonmoral values, and the contemporary meaning (...) of ancient Greek ethics. The volume also includes an essay from the late Adkins himself illustrating his methodology in an analysis of the "Speech of Lysias" in Plato's _Phaedrus_. _The Greeks and Us_ will interest all those concerned with how ancient moral values do or do not differ from our own. Contributors include Arthur W. H. Adkins, Stephanie Nelson, Martha C. Nussbaum, Paul Schollmeier, James Boyd White, Bernard Williams, and Lee Yearley. Commentaries by Wendy Doniger, Charles M. Gray, David Grene, Robert B. Louden, Richard Posner, and Candace Vogler. (shrink)

A longitudinal study of 308 white -collar U.S. employees revealed that feelings of hope and gratitude increase concern for corporate social responsibility. In particular, employees with stronger hope and gratitude were found to have a greater sense of responsibility toward employee and societal issues; interestingly, employee hope and gratitude did not affect sense of responsibility toward economic and safety/quality issues. These findings offer an extension of research by Giacalone, Paul, and Jurkiewicz.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Handbook of Research and Policy in Art EducationCharles M. DornHandbook of Research and Policy in Art Education, edited by Elliot Eisner and Michael Day. Mahwah, N.J.: Lawrence Erlbaum, 2004, 879 pp., $90.00 paper.The Handbook of Research and Policy in Art Education is an 875-page compendium of articles addressing nearly every conceivable issue in the field and is, if nothing else, a valuable tour de force for any reader (...) who wants to come up to speed on issues in the field. It is not, however, either strictly a handbook or a complete exploration of either art education policy or research. This in no way diminishes its potential value as a source for policy issues and research that are of significant concern to the field.The publication presents 36 individual or joint authored chapters on (1) historical currents in art education, (2) policy perspectives impacting the teaching of art, (3) learning in the visual arts, (4) teaching and teacher education, (5) forms of assessment in art education, and (6) emerging visions of the field. Each of the six sections begins with a short introductory statement by the researcher responsible for reviewing the essays in that session. These section editors include F. Graeme-Chalmers, Ralph Smith, Anna Kindler, Enid Zimmerman, Elisabeth Soep, and Arthur Efland. Forty-one authors contributed to the book's contents, all of which have nationally recognized expertise in handling the topic discussed.Editors Elliot Eisner and Michael Day view the book as an effort to bring together research and theory, policy, and concepts that guide and give shape to what people in art education try to accomplish—which is, of course, a rather ambitious goal. Even the editors admit the Handbook meets some but not all of these competing orientations. They also claim that the Handbook serves as an assertion that art education is a scholarly field, perhaps even to a fault through mostly ignoring qualitative issues regarding goals, expressive art form, and aesthetics. Also, the editors admit that the Handbook will be a disappointment, which is true, especially with respect to its emphasis on rationales rather than policy problems, on assessment appreciation rather than policy and research, on assessment in art education history as a record of events rather than as policy windows, and on emerging visions as older forms of social and political discourse rather than policy issues, implementation, and evaluation.Nevertheless, the Handbook addresses a number of important policy issues, providing well-developed and valuable views of the field by a variety of important authors and, in some cases, with some rarely seen insights into the nature of the field. I will only review the most salient ideas of the chapter authors in each of the six sections and then comment on what I believe are promising, and sometimes somewhat troubling, directions pointed out in the chapters, including what promises have not been fulfilled. [End Page 111]Section I, on historical currents, includes chapters by F. Graeme Chalmers; Mary Ann Stankiewicz, Pat Amburgy, and Paul Bolin; and John Howell White. Chalmers provides a very thorough overview of the literature on the history of art education, including what he calls the broad perspectives on art education, history, and research interests of art education historians. Overall, he references nearly 300 publications. Stankiewicz, Amburgy, and Bolin then address specific movements in nineteenth-century art education and art, including a brief history of the social function of art, drawing instruction in schools, industrial drawing, manual training, the arts and crafts movement picture study, and progressive education with over 120 references. White, who follows, provides a similar review of major forces, focusing mainly on art education influences in the twentieth century, addressing the contributions of various art educators, arts organizational leaders, artists, government initiatives, and the critical and divergent influences of key post–WW II art education writers. He also documents his work with nearly 300 sources.Section II, on policy perspectives, contains seven chapters, including ones by Ralph Smith; Samuel Hope; Constance Bumgarner Gee; Lois Hetland and Ellen Winner; H. Gene Blocker; and E. Louis Langford and Kelly Scheffer. In Section II, Sam Hope outlines the power of policy and its effect... (shrink)

It is well-known that the entangled quantum state of a composite object cannot be reduced to the states of its parts. This quantum holism provides a peculiar challenge to formulate an appropriate mereological model: When a system is in an entangled state, which objects are there on the micro and macro level, and which of the objects carries which properties? This paper chooses a modeling approach to answer these questions: It proceeds from a systematic overview of consistent mereological models for (...) entangled systems and discusses which of them is compatible with the quantum mechanical evidence (where quantum states are understood realistically). It reveals that entangled quantum systems neither describe undivided wholes nor objects that stand in irreducible relations. The appropriate model assumes that the entangled property is an irreducible non-relational plural property carried collectively by the micro objects, while there is no macro object. In this sense, quantum holism is an instance of property holism, not of object holism. (shrink)

In the Logic of Being: Realism, Truth, and Time, the influential philosopher Paul M. Livingston explores and illuminates truth, time, and their relationship by employing methods from both Continental and analytic philosophy.

We can use language to say what people did, often describing the same action in different complex ways. Davidson offered an illuminating analysis of action reports like “Miss Scarlet stabbed Colonel Mustard with a dagger in the library,” which involve adverbial modifiers. Part of the challenge here is to say how such modifiers are semantically related to the rest of the sentence. Building on the ancient observation that verbs are often used to describe what happened, Davidson argued that an action (...) report implies the occurrence of an eventthat meets the conditions specified by the report; where an event can be described in endlessly many ways. In this chapter, I review Davidson's account, his arguments in favor of it, and his responses to some initial objections. I also discuss some subsequent work that supports central aspects of Davidson's proposal while also presenting challenges for combining his analysis of action reports with his broader conception of linguistic meaning. (shrink)

In Conjoining Meanings, I argue that meanings are composable instructions for how to build concepts of a special kind. In this summary of the main line of argument, I stress that proposals about what linguistic meanings are should make room for the phenomenon of lexical polysemy. On my internalist proposal, a single lexical item can be used to access various concepts on different occasions of use. And if lexical items are often “conceptually equivocal” in this way, then some familiar arguments (...) for externalist conceptions of linguistic meaning need to be reevaluated. (shrink)

The ancient problem of the relationship of the continuous to the discrete, since its discovery by the Greeks, has posed a range of immensely fruitful challenges to both philosophical and mathematical thought, leading to a variety of mathematical and conceptual innovations whose positive development actively continues today. In this brief section introduction, I selectively outline some significant moments at which this problem has provided important historical occasions for concrete mathematical innovation as well as closely linked philosophical insights, before introducing the (...) particular contributions of the section authors to historical and contemporary research and practice into the nature and structure of the continuum, the construction of real numbers, the foundations of analysis, and the logical, set-theoretical, and computational underpinnings of the structure of continuously valued numbers in the most general sense, in both constructive and nonconstructivist contexts. (shrink)

Paul M. Pietroski presents an ambitious new account of human languages as generative procedures that respect substantive constraints. He argues that meanings are neither concepts nor extensions, and sentences do not have truth conditions; meanings are composable instructions for how to access and assemble concepts of a special sort.

The Mind-Body Problem Questions: What is the mind? What is its connection to the body? Most basic division of answers: Dualist and Materialist (or Physicalist) responses.

The present essay is addressed simultaneously to two distinct audiences.

A study in the philosophy of science, proposing a strong form of the doctrine of scientific realism' and developing its implications for issues in the philosophy of mind.

A Neurocomputationial Perspective illustrates the fertility of the concepts and data drawn from the study of the brain and of artificial networks that model the...

Eliminative materialism is the thesis that our common-sense conception of psychological phenomena constitutes a radically false theory, a theory so fundamentally defective that both the principles and the ontology of that theory will eventually be displaced, rather than smoothly reduced, by completed neuroscience. Our mutual understanding and even our introspection may then be reconstituted within the conceptual framework of completed neuroscience, a theory we may expect to be more powerful by far than the common-sense psychology it displaces, and more substantially (...) integrated within physical science generally. My purpose in this paper is to explore these projections, especially as they bear on (1) the principal elements of common-sense psychology: the propositional attitudes (beliefs, desires, etc.), and (2) the conception of rationality in which these elements figure. (shrink)

For the uninitiated, there are two major tendencies in the modeling of human cognition. The older, tradtional school believes, in essence, that full human cognition can be modeled by dividing the world up into distinct entities -- called __symbol s__-- such as “dog”, “cat”, “run”, “bite”, “happy”, “tumbleweed”, and so on, and then manipulating this vast set of symbols by a very complex and very subtle set of rules. The opposing school claims that this system, while it might be good (...) at concluding that Paris is the capital of France or that there must be blood flowing in the left-rear leg of a cow, can never capture the full measure -- indeed, the essence -- of human cognition. For them, the essential features of cognition emerge from the combined effects of myriad, tiny actions far below the surface of consciousness. This is the camp to which Paul Churchland belongs. (shrink)

In _Matter and Consciousness_, Paul Churchland presents a concise and contemporary overview of the philosophical issues surrounding the mind and explains the main theories and philosophical positions that have been proposed to solve them. Making the case for the relevance of theoretical and experimental results in neuroscience, cognitive science, and artificial intelligence for the philosophy of mind, Churchland reviews current developments in the cognitive sciences and offers a clear and accessible account of the connections to philosophy of mind. For (...) this third edition, the text has been updated and revised throughout. The changes range from references to the iPhone's "Siri" to expanded discussions of the work of such contemporary philosophers as David Chalmers, John Searle, and Thomas Nagel. Churchland describes new research in evolution, genetics, and visual neuroscience, among other areas, arguing that the philosophical significance of these new findings lies in the support they tend to give to the reductive and eliminative versions of materialism. Matter and Consciousness, written by the most distinguished theorist and commentator in the field, offers an authoritative summary and sourcebook for issues in philosophy of mind. It is suitable for use as an introductory undergraduate text. (shrink)

Paul M. Pietroski, University of Maryland I had heard it said that Chomsky’s conception of language is at odds with the truth-conditional program in semantics. Some of my friends said it so often that the point—or at least a point—finally sunk in.

In _ Plato's Camera_, eminent philosopher Paul Churchland offers a novel account of how the brain constructs a representation -- or "takes a picture" -- of the universe's timeless categorical and dynamical structure. This construction process, which begins at birth, yields the enduring background conceptual framework with which we will interpret our sensory experience for the rest of our lives. But, as even Plato knew, to make singular perceptual judgments requires that we possess an antecedent framework of abstract categories (...) to which any perceived particular can be relevantly assimilated. How that background framework is assembled in the first place is the motivating mystery, and the primary target, of Churchland's book. Unexpectedly, this neurobiologically grounded account of human cognition also provides a systematic story of how such low-level epistemological activities are integrated within an enveloping framework of linguistic structures and regulatory mechanisms at the social level. As Churchland illustrates, this integration of cognitive mechanisms at several levels has launched the human race on an epistemological adventure denied to all other terrestrial creatures. (shrink)

The doctrine that the character of our perceptual knowledge is plastic, and can vary substantially with the theories embraced by the perceiver, has been criticized in a recent paper by Fodor. His arguments are based on certain experimental facts and theoretical approaches in cognitive psychology. My aim in this paper is threefold: to show that Fodor's views on the impenetrability of perceptual processing do not secure a theory-neutral foundation for knowledge; to show that his views on impenetrability are almost certainly (...) false; and to provide some additional arguments for, and illustrations of, the theoretical character of all observation judgments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:News from the President’s Council on BioethicsF. Daniel Davis (bio) and Diane M. Gianelli (bio)As most readers of this column already know, the President's Council on Bioethics went through a major transition during the past year when Leon Kass—in October 2005—handed the chairman's gavel over to Georgetown University's Edmund Pellegrino. Dr. Kass has remained on the Council as a member.1When the gavel change took place, the Council's phone started (...) ringing. Everyone wanted to know the same thing: What topics would the Council take up this term? Dr. Pellegrino's answer was always the same: The Council's agenda would be established through a consultative process with the members themselves and with an eye to those problems and controversies in bioethics to which we, as a body, can make a contribution.Taking its cue from the list of potential topics suggested by members, the Council—over the course of the next several meetings—listened to experts on such topics as children and bioethics (with a focus on children in clinical research), organ transplantation, and that oft-cited-but-hard-to-define concept, "human dignity."The latter topic entered the arena of discussion because it is a concept that is cited frequently in the bioethics literature, and it is also one that has figured prominently in Council discussions and documents. Although the concept is widely invoked, there is no universal understanding of what it means, and it is not easy to encapsulate into a one-size-fits-all definition. Indeed, some critics maintain that appeals to human dignity are fig leaves used to camouflage unconvincing arguments. So between December 2005 and April 2006, the Council devoted several sessions to various perspectives on "human dignity: its meaning, its foundations, and its relevance to bioethics." After hearing from James Childress, Patricia Churchland, Daniel Sulmasy, and Paul Weithman2 on the topic, the Council decided to issue a volume of approximately 20 essays, some by Council members and others by scholars from a variety of relevant disciplines.3 The volume is expected to encompass a broad array of opinion on the topic of human dignity and is scheduled to be published next spring."Children" were also the focus of several sessions during the past year. The Council's last report addressed care giving for the elderly.4 After it was issued, several members suggested it was time to focus on the youngest members of [End Page 375] society. The challenge, of course, was to find a topic that was both timely and relevant—and one about which the Council was uniquely qualified to make a contribution. A number of experts in a variety of related fields testified before the Council about possible issues it could explore: newborn screening for genetic disorders; decision-making standards for those who lack capacity; ethical issues in neonatal and pediatric intensive care; pharmacology and psychiatric disorders in children; and children and clinical research. In addition, a number of groups and individuals involved in related topics met with staff to discuss their interests and concerns.This exploratory engagement with facets of the broad topic of children and bioethics led the Council to focus, more narrowly, on a cluster of issues concerning newborn screening for genetic disorders—a topic on which it is likely that the Council will issue a white paper, possibly by next summer. The stimulus for this particular focus has been the American College of Medical Genetics's recommendation that all newborns in the U.S. be screened for a panel of 29 disorders.5 Currently, each state decides for its residents which conditions are subject to mandated screening, so it is possible to get early diagnoses of treatable disorders in one geographical area but not in another. Proponents of screening find the federal approach to mandated screening more equitable. Potential ethical problems, however, exist with the proposal. Some want to ensure that newborns are screened only for treatable conditions on grounds that it would be too burdensome to discover one is carrying the gene for a late-onset disease that cannot be prevented. Others want to make sure that insurance coverage for individuals and their families is... (shrink)

"Churchland and Hooker have collected ten papers by prominent philosophers of science which challenge van Fraassen's thesis from a variety of realist perspectives. Together with van Fraassen's extensive reply... these articles provide a comprehensive picture of the current debate in philosophy of science between realists and anti-realists."—Jeffrey Bub and David MacCallum, Foundations of Physics Letters.

In _ Plato's Camera_, eminent philosopher Paul Churchland offers a novel account of how the brain constructs a representation -- or "takes a picture" -- of the universe's timeless categorical and dynamical structure. This construction process, which begins at birth, yields the enduring background conceptual framework with which we will interpret our sensory experience for the rest of our lives. But, as even Plato knew, to make singular perceptual judgments requires that we possess an antecedent framework of abstract categories (...) to which any perceived particular can be relevantly assimilated. How that background framework is assembled in the first place is the motivating mystery, and the primary target, of Churchland's book. Unexpectedly, this neurobiologically grounded account of human cognition also provides a systematic story of how such low-level epistemological activities are integrated within an enveloping framework of linguistic structures and regulatory mechanisms at the social level. As Churchland illustrates, this integration of cognitive mechanisms at several levels has launched the human race on an epistemological adventure denied to all other terrestrial creatures. (shrink)