This lavishly illustrated book highlights the conservation importance of congregatory animals species--those which gather in vast groups. It also focuses on the irreplaceability of the congregation sites which are able to support such large gatherings of animals, fish, or birds.

This paper reports on a two-year, field-based study set in a charter management organization, a not-for-profit educational organization that operates 18 public schools exclusively in the Black and Latinx communities of South and East Los Angeles. At CMO-LAX, the nine-member Data Team pursues the organization's avowed mission of making public schools data-driven, primarily through the aggregation, analysis, and visualization of digital data derived from quotidian educational activities. This paper draws on the theory of racialized organizations to characterize aspects of data-driven (...) management of public education as practiced by CMO-LAX. I explore two examples of how CMO-LAX shapes data to support racial projects: the reconstruction of the figure of chronic truants and the incorporation of this figure in a calculative regime of student accomplishment. Organizational uses of data support a strategy I call productive myopia, a way of pursuing racial projects via seemingly independent, objective quantifications. This strategy allows the organization to claim to mitigate racial projects and, simultaneously, to accommodate them. This paper concludes by arguing for approaches to research and practice that center racial projects, particularly when data-intensive tools and platforms are incorporated into the provision of public goods and services such as education. (shrink)

Based on an ethnographic project in a public high school in a low-income neighborhood in South Los Angeles, this paper argues that access to information and communication technologies cannot be taken as helpful or empowering on its own terms; instead, concerns about justice must be accounted for by the local communities technology is meant to benefit. This paper juxtaposes the concept of technological access with recent work in feminist science and technology studies on infrastructure, maintenance, and ethics. In contrast to (...) popular descriptions of ICTs as emancipatory and transformative, in the setting of an urban school, access produced extensive demands for attention, time, and information. This paper focuses on the labor of a group of student workers, Student Technology Leaders, and how they became responsible for the significant amount of repair and maintenance work involved in keeping hundreds of new computing devices available for use. An expanded process of accounting can more realistically frame issues of justice and its relationship to ICTs. I use a town hall meeting held with these students as an example of a processual vision of justice, one that encourages the beneficiaries of technological access to evaluate costs, benefits, and ethical concerns together. (shrink)

Gödel's modal ontological argument is the centerpiece of an extensive examination of intensional logic. First, classical type theory is presented semantically, tableau rules for it are introduced, and the Prawitz/Takahashi completeness proof is given. Then modal machinery is added to produce a modified version of Montague/Gallin intensional logic. Finally, various ontological proofs for the existence of God are discussed informally, and the Gödel argument is fully formalized. Parts of the book are mathematical, parts philosophical.

One of the questions that Heidegger presents in his paper, ‘Plato’s Doctrine on Truth’, is the distortion as he sees it of paideia—that is the loss of the essential elements in education. This loss is characterised according to Heidegger, by a misconception of Plato’s concept of teaching and learning. By undertaking an historical examination, Heidegger provides a means to rectify this loss. With reference to past, present and future philosophical perspectives of teaching and learning as particular spaces, an attempt is (...) made in this paper to examine Heidegger’s reading of paideia within the context of online learning. This, for many contemporary writers on education, is an encounter with new literacies, new knowledge and the adoption of an online environment that challenges the hegemonic order of the institution as the purveyors of knowledge. Teachers within this new environment are, however still constituted as experts and their knowledge is seen as ultimately inviolate. Heidegger in his re-interpretation of Plato sees the teacher as leading the students to where they might make themselves intelligible within the space of their being. This alignment forms an acceptance and a challenge to the metaphysical concepts of uniformity of being and place that limits the potential of knowledge as something that is fixed and complete. The experience of the social web or Web 2.0 has seen a shift in learning premised upon dialogue, exchange and constantly shifting horizons. Within this context, the teacher is recast as a craftsman, creating learning opportunity within dialogic exchange. The heightened sense of involvement that is revealed in this context lays the ground for a future visioning of education where emergence is seen as essential, unlike a re-working of authorisation to learn that inhibits student and teacher alike in new attempts at revitalising education. (shrink)

If narrating—the feeling of stories, fictional or otherwise—is an inherent possibility of motion pictures , then Kracauer's distinction between the realist and formative tendencies must be questioned and, in effect, the two must be synthesized. Wasn't the practical problem for the earliest films how to construct a formative sequence of events within an absolutely real-looking visual context? Wasn't the paradox of film narrative the combination of an obviously unreal sequence of events with an obviously real visual and social setting? And (...) isn't that paradox the most intriguing and complex problem of narrative film today, when the visual and social setting have become increasingly real-seeming? And doesn't this paradox have something to do with the fact that narrative film today seems richer and more important than it did a decade ago, at a time when various admirers of both cinéma vérité and cinéma pur had announced the death of fictional filmed narrative? Kracauer's realist aesthetic, concentrating exclusively on the photographic surfaces of things in the material world , overlooks this paradox altogether. It overlooks the fact—extremely relevant to the cinema—that the term "realist" means one thing in its common application to a painting or photograph and quite another thing in its equally common application to a novel or play. A realistic visual image is one that is said to "look like," "resemble," "reproduce," "iconically represent" the surfaces of the visual world. We see—or think we see—in a painting what we see—or think we see—in the real world.1 But a realistic story is one that is said to chronicle "credibly," "probably," and "believably" the way we think people feel, think, or act, the way things happen, and the reasons they happen, all of which are consistent with the reader-audience-society's beliefs about psychology, motivation, and probability. The standard of one sense of realism is primarily visual while the standard of the other is primarily psychological. One might see the early films groping, then, toward a synthesis of the visual realism of late-nineteenth-century painting/photography with the psychological realism of late-nineteenth-century novel/drama. · 1. This equivocation deliberately avoids the question of whether there is anything actually real about what one sees in a painting or photograph. The fact is that a very large number of viewers operate in this assumption because they think there is something real about what they see, despite the theoretical imprecision of their holding such a belief. Gerald Mast is the author of, among other works, A Short History of the Movies, The Comic Mind: Comedy and the Movies, and Film/Cinema/Movie: A Theory of Experience. His previous contribution to Critical Inquiry, "What Isn't Cinema?," appeared in the Winter 1974 issue. (shrink)

One of the common and commonsensical ways to distinguish cinema from every other art and semiotic system, and to define the property of its uniqueness, is to claim that cinema is the only art/”language” that links images. This “linking” can imply three different yet complementary operations. First, cinema links individual still photographs into an apparently continuous sequence of movement by pushing the individual frames or photographs through a camera or projector at sixteen or twenty-four or however many frames per second. (...) Second, cinema links images by editing , by splicing together individual shots, which are continuous chains of linked frames. Finally, cinema links images with sounds, synchronously or otherwise. The only problem with such an apparently unrestrictive and unprescriptive definition of cinema and the “cinematic” is that it obscures an essentially cinematic operation that precedes the linking of cinema images: the image must first be framed before it can be linked with another.But is framing unique to cinema? Don’t paintings have frames? Aren’t photographs frames? Isn’t the theater’s proscenium arch a frame? A consequence of such perfectly sensible questions is a consistent undervaluing of the cinema frame as an essentially and uniquely cinematic tool, unlike that of any other art, producing serious errors in the writing of film theory and serious misunderstandings of the processes of film history. The goal of this article is to diagnose some of these errors so they might someday be cured. Gerald Mast is professor of English and general in the humanities at the University of Chicago. Among his many books are A Short History of the Movies, The Comic Mind: Comedy and the Movies, Film/Cinema/Movie, The Movies in Our Midst, and Howard Hawks, Storyteller. His previous contributions to Critical Inquiry are “What Isn’t Cinema?” and “Kracauer’s Two Tendencies and the Early History of Film Narrative”. (shrink)

INTRODUCTION TO LOGIC is a combined text and workbook for students beginning their study of logic. The workbook style allows students to proceed at their own pace, checking their progress in the end-of-chapter exercises. The text covers propositional logic and predicate logic with identity, the focus being on arguments. The methods of proof are truth-tables and truth-trees in the style of Jeffrey. This text is suitable for students of philosophy, computer science, mathematics and science in general.

In this paper we compare central elements of Dialogue Logic and Belief Revision theory. Dialogue Logic of the Hamblin/Mackenzie style, or Formal Dialectic, contains three main features. First, there is a rule governed interaction between dialogue participants—the minimal case being two participants. Second, each participant has a commitment store which changes as the dialogue progresses. Third, the changes in the commitment store are governed by rules for additions and withdrawals of material. Withdrawal of material is one major source of difficulty (...) in proposing rules for commitment store change. The classic Belief Revision theory is the AGM theory. AGM theory is a theory about ideal rational believers who change their sets of beliefs by either expansion or contraction. Contraction is a major source of difficulty in belief revision theory. We claim that the commitment stores of dialogue logic include, in a sense, the belief sets of belief revision theory. Further, withdrawal and contraction are essentially the same process. We consider various kinds of withdrawal and contraction, and show how approaches to these processes illuminate certain of the formal fallacies. (shrink)

When Andre Bazin's most important essays on film were collected together in a single volume and titled What is Cinema? they raised a question that Bazin did not answer. Nor did he intend to. Nor has it been answered by any of the other theorists who have written what now seem to be the major works on film theory and who now seem the most influential spokesmen for the art. Rudolf Arnheim, Andre Bazin, Stanley Cavell, S. M. Einstein, Siegfried Kracauer, (...) Christian Metz, Hugo Munsterberg, Erwin Panofsky, and Gene Youngblood have failed to define what cinema essentially is.1 Unlike Ionesco's comically methodical Logician, they have been less than careful about posing the problem correctly. As a result they have been less than successful and less than precise with a deceptively difficult and complicated issue. They have defined some kinds of cinema, they have defined some of the qualities unique to those kinds of cinema, they have defined the characteristics and devices they find most valuable in some of those kinds of cinema, they simply have not defined cinema. · 1. Relevant sections of all these theorists can be found in Gerald Mast and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings . Gerald Mast, associate professor of humanities at Richmond College of the City University of New York, has written A Short History of the Movies, The Comic Mind: Comedy and the Movies, Filmguide to the Rules of the Game, and Film Theory and Criticism: Introductory Readings . This article is part of a forthcoming book, What Isn't Cinema? He has also contributed "Kracauer's Two Tendencies and the Early History of Film Narrative" to Critical Inquiry. (shrink)

It has been argued that consciousness might be what differentiates human from machine mentality. What then is consciousness? We discuss consciousness, particularly perception accounts of consciousness. It is argued that perception and consciousness are distinct. Armstrong's account of consciousness is rejected. It is proposed that perception is a necessary but not sufficient condition for consciousness, and that there is a distinction to be drawn between consciousness and self-consciousness. Consciousness is tightly linked to attention and to certain sorts of knowledge. Implications (...) for machine consciousness and machine attention are discussed. (shrink)

concepts like numbers or time are thought to be represented in the more concrete domain of space and the sensorimotor system. For example, thinking of past or future events has a physical manifestation in backward or forward body sway, respectively. In the present study, we investigated the reverse effect: can passive whole-body motion influence the processing of temporal information? Participants were asked to categorize verbal stimuli to the concepts future or past while they were displaced forward and backward , or (...) upward and downward . The results showed that future related verbal stimuli were categorized faster during forward as compared to backward motion. This finding supports the view that temporal events are represented along a mental time line and that the sensorimotor system is linked to that representation. We showed that body motion is not just an epiphenomenon of temporal thoughts. Passive whole-body motion can influence higher-order temporal cognition. (shrink)

Recent research on visual mental imagery plays an important role for the study of visual hallucinations. Not only are mental images involved in various cognitive processes, but they also share many processes with visual perception. However, we rarely confuse mental images with percepts, and recent neuroimaging studies shed light on the mechanisms that are differently activated in imagery and perception.

This article approaches the topics of invention and innovation by way of cultural theory. Building on the works of Ferdinand de Saussure and John Austin, the article offers definitions of invention and innovation in semiotic and performative terms. It conceptualizes invention as a process of resignification, and frames innovation as a felicitous performative. Structuralist theory appears to foreclose the potential for these two terms to exist in the empirical world. This article explores these barriers but also locates conceptual spaces for (...) invention and innovation, and identifies these phenomena as they occur in contemporary empirical sites. (shrink)

Significant criticisms have been raised regarding the ethical and psychological basis of living wills. Various solutions to address these criticisms have been advanced, such as the use of surrogate decision makers alone or data science‐driven algorithms. These proposals share a fundamental weakness: they focus on resolving the problems of living wills, and, in the process, lose sight of the underlying ethical principle of advance care planning, autonomy. By suggesting that the same sweeping solutions, without opportunities for choice, be applied to (...) all, individual patients are treated as population‐level groups—as a theoretical patient who represents a population, not the specific patient crafting his or her individualized future care plans. Instead, advance care planning can be improved through a multimodal approach that both mitigates cognitive biases and allows for customization of the decision‐making process by allowing for the incorporation of a variety of methods of advance care planning. (shrink)

With the development of wireless technology, two basic wireless network models that are commonly used, known as infrastructure and wireless ad hoc networks, have been developed. In the literature, it has been observed that channel contention is one of the main reasons for packet drop in WANETs. To handle this problem, this paper presents a routing protocol named CCBR. CCBR tries to determine a least contended path between the endpoints to increase packet delivery ratio and to reduce packet delay and (...) normalized routing overhead. Moreover, throughout the active data section, each intermediate node computes its channel contention value. If an intermediate node detects an increase in channel contention, it notifies the source node. Then the source node determines another least contended route for transmission. The advantages of CCBR are verified in our NS2-based performance study, and the results show that CCBR outperforms ad hoc on-demand distance vector in terms of packet delivery ratio, end-to-end delay, and routing overhead by 4% to 9%. (shrink)

The ability to recognise others’ emotions from nonverbal cues is measured with performance-based tests and has many positive correlates. Although researchers have...