The acquisition of syntactic categories is a crucial step in the process of acquiring syntax. At this stage, before a full grammar is available, only surface cues are available to the learner. Previous computational models have demonstrated that local contexts are informative for syntactic categorization. However, local contexts are affected by sentence-level structure. In this paper, we add sentence type as an observed feature to a model of syntactic category acquisition, based on experimental evidence showing that pre-syntactic children are able (...) to distinguish sentence type using prosody and other cues. The model, a Bayesian Hidden Markov Model, allows for adding sentence type in a few different ways; we find that sentence type can aid syntactic category acquisition if it is used to characterize the differences in word order between sentence types. In these models, knowledge of sentence type permits similar gains to those found by extending the local context. (shrink)

Summary Colour and space are pervasive topics in both perception and art. This article investigates the role of colour and pattern in relation to space and time in the art works by two artists: Frank Stella, a well-known Post-War American abstract painter, and Pieter Vermeersch, an emerging Belgian abstract painter, representing a contemporary trend to break the barriers between artistic disciplines. While Stella adheres to the Modernist logic of non-illusionistic, non-spatial, non-referential art as object, perceived instantaneously, Vermeersch (...) explores ways to enhance the viewers’ spatial and temporal experiences through complex art installations with multiple objects and architectural elements interacting with each other and with the spaces in which they are embedded. We discuss these major themes in some representative art works, and in the way they are perceived and appreciated by contemporary viewers, investigated in four empirical studies: two laboratory experiments using well-controlled stimuli derived from at works, and two museum studies employing a variety of methods, including mobile eye-tracking and questionnaires. (shrink)

Postmodernism today is driven by a set of theoretical stances that grow increasingly problematic. But as the theoretical contradictions emerge, it becomes possible to contrast this theoretical discourse to the ambitions that initially led writers and artists to pursue their version of postmodern perspectives. So this book explores what remains viable and valuable in some representative versions of what these writers and artists created. Altieri begins with an essay defining five basic contradictions in postmodern theory and outlining specific artistic strategies (...) for dwelling with and within those contradictions. Part Two then sets the historical stage with two essays—one focusing on the efforts to overthrow late modernism by Jasper Johns and John Ashbery, the other tracing the emergence of a logic of contingency in the poetics of Robert Creeley, Frank O'Hara, and Sylvia Plath. With Part Three the focus shifts to essays proposing different value frameworks for postmodern poets, frameworks that range from moral philosophy to the resources of the tradition of love poetry. Part Four turns to visual artists first engaging the efforts to politicize the postmodern in the 1980s, then showing how Frank Stella's work can be put in dialogue with that of Jacques Derrida. Finally, the book swallows its own tail by proposing an argument that the only version of the sublime that today does not collapse into self-congratulation is the sublime of self-disgust. _Postmodernism Now_ holds out the possibility that the arts have been America’s richest negotiations of postmodernity, and it insists that criticism need not displace art into social allegories in order to develop their relevance to social life. (shrink)

Tout est parti d'une demande d'Olivier Kaeppelin, directeur de la Fondation Maeght, chargeant Bernard-Henri Levy de penser la grande exposition de l'été 2013, à la Fondation. Un thème : les rapports de la peinture et de la philosophie. Un principe : traiter à égalité, et faire dialoguer autour de cette thématique, les maîtres de l'art ancien, moderne et contemporain. Un fil directeur : une sorte de "grand récit", découpé en six stations, où l'on voit la philosophie censurer, ou réhabiliter, ou (...) effacer à nouveau, ou au contraire relayer et même remplacer, le travail des peintres. Une aventure : Bernard-Henri Levy a, pour raconter cette histoire, couru les collections privées, les musées de France et d'ailleurs, débusquant ainsi des chefs-d'oeuvre, souvent peu connus et peu vus, qui seront, du 29 juin prochain au 12 novembre, exposés sur les murs de la Fondation Maeght. Le livre enfin, né de cette aventure, est découpé en trois parties. Une longue "Lettre à Olivier Kaeppelin" (80 pages) posant les bases de l'exposition, ses principes théoriques et ceux de l'Esthetique de BHL. Un Journal, tenu de l'été 2011 au printemps 2013, et racontant, jour après jour, le "making of" de cette exposition hors-norme : problèmes esthétiques et techniques, portraits d'artistes ou de collectionneurs, moments d'éblouissement et de déception - tout y est. Et puis, enfin, les images des 120 oeuvres choisies et accompagnées, chaque fois, d'une "notice" à la fois littéraire et scientifique - c'est la troisième partie du livre. Ce livre n'est pas un "catalogue" (même s'il répertorie savamment les oeuvres retenues). Ce n'est pas un "beau livre" (même s'il est richement illustré). C'est un vrai livre, foisonnant, vivant, littéraire de bout en bout, bourré d'anecdotes et de croquis - où l'on retrouve l'encre du BHL philosophe mais aussi romancier et parfois même cinéaste! Bernard-Henri Lévy a, depuis 30 ans, publié plusieurs monographies sur l'art ancien (Piero della Francesca), moderne (Mondrian) ou contemporain (Frank Stella). Ce nouveau livre vient prolonger et, en quelque sorte, couronner cette part moins connue et, jusqu'ici, délibérément discrète de son oeuvre. (shrink)

Los teóricos de la democracia dejaron de lado la pregunta de quién legalmente forma parte del "pueblo" autorizado, pregunta que atraviesa a todas las teoría de la democracia y continuamente vivifica la práctica democrática. Determinar quién constituye el pueblo es un dilema inabordable e incluso imposible de responder democráticamente; no es una pregunta que el pueblo mismo pueda decidir procedimentalmente porque la propia premisa subvierte las premisas de su resolución. Esta paradoja del mandato popular revela que el pueblo para ser (...) mejor comprendido como una demanda política, como un proceso de subjetivación, surge y se desarrolla en distintos contextos democráticos. En Estados Unidos el disputado poder para hablar en beneficio del pueblo deriva de un excedente constitutivo heredado de la era revolucionaria, a partir del hecho de que desde la Revolución el pueblo ha sido por vez primera encarnado por la representación y como exceso de cualquier forma de representación. La autoridad posrevolucionaria del vox populi deriva de esa continuamente reiterada pero nunca realizada referencia a la soberanía del pueblo a partir de la representación, legitimidad a partir de la ley, espíritu a partir de la letra, la palabra a través de la palabra. Este ensayo examina la emergencia histórica de este exceso de democracia en el período revolucionario, y cómo este habilita a una subsecuente historia de "momentos constituyentes", momentos cuando subautorizados -radicales, entidades autocreadas-, se apoderan del manto de la autoridad, cambiando las reglas de la autoridad en ese proceso. Estos pequeños dramas de reclamos de autoridad política para hablar en nombre del pueblo son felices, aun cuando explícitamente rompan con los procedimientos o reglas estatuidas para representar la voz popular. -/- Momentos constituyentes: paradojas y poder popular en los Estados Unidos de América posrevolucionarios [traducción], Revista Argentina de Ciencia Política, N°15, EUDEBA, Buenos Aires, Octubre 2012, pp. 49-74. ISSN: 0329-3092. Introducción de “Constituent Moments: Enacting the People in Postrevolutionary America”, de Jason Frank [Ed.: Duke University Press Books, enero de 2010. ISBN-10: 0822346753; ISBN-13: 978-0822346753]. (shrink)

A book that pulls together the results of research by several scholars to provide a fresh look at the rich heritage of ideas that Wright contributed to the theory and practice of architecture, with special emphasis on the ordering of structuring of architectural experience. An attempt is made to convey an understanding of Wright's contributions through a direct analysis of his designs as they exist or existed in reality. The authors take a different look at Wright's work in a search (...) for clarity and understanding. (shrink)

Prescriptive political and moral theories contain ideas about what human beings are like and about what, correspondingly, is good for them. Conceptions of human “nature” and corresponding human good enter into normative argument by way of support and justification. Of course, it is logically open for the ratiocinative traffic to run the other way. Strongly held convictions about the rightness or wrongness, goodness or badness, of certain social institutions or practices may help condition and shape one's responses to one or (...) another set of propositions about what people are like and what, in consequence, they have reason to value. (shrink)

At the most general level I am interested in how we come to make sense of the world around us. Much of this research involves asking how intuitive explanations and understandings emerge in development and how they are related to notions of cause, mechanism and agency. These relations are linked to broader questions of what concepts are, how they change with development and increasing expertise and how they are structured in adults.

I'm pleased to have been offered the chance of replying to Joseph Frank's criticisms . He is a courteous opponent, though capable of a certain asperity. . . . Frank complains that his critics appear incapable of attending to what he really said in his original essay. It is the blight critics are born for; and it is undoubtedly sometimes caused by the venal haste of reviewers, and sometimes by native dullness, and sometimes by malice. But there are (...) other reasons why an author may sometimes feel himself to be misrepresented. One is that a genuinely patient and intelligent reader may be more interested in what the piece under consideration does not quite say than in what is expressly stated. Another is the consequence of fame. Frank's original article is over thirty years old; it crystallised what had been for the most part vague notions, ideas that were in the air, and gave them a memorable name. "Spatial form" entered the jargon of the graduate school and began an almost independent existence. The term might well be used by people who had never read the essay at all; or they might casually attribute to him loose inferences made by others from the general proposition—inferences he had already disallowed and now once more contests. It must be difficult, particularly for an exasperated author, to distinguish between these causes of apparent misrepresentation. But sometimes it can be done; and then it will appear that the effect of the first is far more interesting than that of the second cause. For the suggestion then must be that the author has repressed a desire to take a position which, in his manifest argument, he differentiates from his own. This, as it happens, is what he advances as an explanation of certain ambiguities in my Sense of an Ending; the least one can say is that it is perfectly possible. Frank Kermode is the author of The Sense of an Ending: Studies in the Theory of Fiction, Continuities, and Shakespeare, Spenser, Donne: Renaissance Essays; his works also include The Classic and The Genesis of Secrecy. His contributions to Critical Inquiry are "Novels: Recognition and Deception" , "A Reply to Denis Donoghue" , and "Secrets and Narrative Sequence". (shrink)

In this memorial essay on Sir Frank Kermode (1919–2010), the author focuses on his own exchange of views with Kermode during the 1970s. In Kermode's book The Sense of an Ending (1966), he had criticized Frank's essay “Spatial Form in Modern Literature” (1945) as part of a larger critique of what the Romantic-Symbolist tradition of English poetry had become in the twentieth century. Yeats, Pound, Eliot, and other late Symbolists had turned artists into advocates of an irrational wisdom (...) superior to reason and common sense, thus isolating—so Kermode argued—the world of art from that of ordinary human concerns. Rejecting their view of art, he turned instead to a pre-Romantic tradition (including Spenser and Milton) that the Symbolists had rejected. Among modern writers, Kermode turned to Wallace Stevens, who became his foil for Yeats, Eliot, and Pound, as well as the most important influence on his own later thinking. Joseph Frank, in this essay, recalls the combination of acerbic intelligence, social concern, gentility, and finally friendship that characterized his debate over these questions with Kermode. Frank recalls as an indication of his respect and admiration for Kermode that he wrote, in 1977, that, even if his own theory of spatial form were to be shown worthless, it would still have value in having provided some of the stimulus for Kermode to write The Sense of an Ending. (shrink)

In what follows I argue for two interrelated theses: that early Buddhism is not a form of empiricism, and that consequently there is no basis for an early Buddhist apologetic which contrasts an empirical early Buddhism with either a metaphysical Hinduism on the one hand, or with a baseless Christianity on the other.

This paper argues that God may create and exist in any possible world, no matter how much suffering of any sort that world includes. It combines the traditional free will defence with the notion of an ‘occasion’ for good or evil action and limits God's responsibility to the creation of these occasions. Since no possible world contains occasions for more evil than good action, God is morally permitted to create any possible world. With regard to suffering that is not due (...) to free will, namely the suffering of beings who are not moral agents, the paper questions the idea that the relief of such suffering is a moral perfection. (shrink)

Wind, water, and molten rock constantly tear apart and resculpt the natural world we live in, and people have always struggled to create structures that will permanently establish their existence on the land. Frank Golhke has committed his camera lens to documenting that fraught relationship between people and place, and this retrospective collection of his work by John Rohrbach reveals how people carve out their living spaces in the face of constant natural disruption. An acclaimed master of landscape photography, (...) Golhke explores in _Accommodating Nature_ how people configure the places where they live, work, and commune, both on an everyday level and in the aftermath of catastrophic destruction. Whether a ranch house anchored fast on an endless Texas plain, the shattered buildings and whipped trees left by a category 5 tornado, or the jagged cliffs of ash and rock created by the volcanic eruption of Mount St. Helens, the photographs unearth the ways in which new homes and lives emerge from the fragments of the old. Thought-provoking essays by Rebecca Solnit, Frank Gohlke, and John Rohrbach expand upon the issues raised by the images, contemplating the complexities of human and cultural geography and the relationships we have with our respective place. An arresting and vibrant visual essay combining magnificent vistas with intimate emotional detail, _Accommodating Nature_ exposes the intricate threads that bind our lives to the land surrounding us. (shrink)

This paper discusses ethical issues surrounding Integrated Assessment Models (IAMs) of the economic effects of climate change, and how climate economists acting as policy advisors ought to represent the uncertain possibility of catastrophe. Some climate economists, especially Martin Weitzman, have argued for a precautionary approach where avoiding catastrophe should structure climate economists’ welfare analysis. This paper details ethical arguments that justify this approach, showing how Weitzman’s “fat tail” probabilities of climate catastrophe pose ethical problems for widely used IAMs. The main (...) claim is that economists who ignore or downplay catastrophic risks in their representations of uncertainty likely fall afoul of ethical constraints on scientists acting as policy advisors. Such scientists have duties to honestly articulate uncertainties and manage (some) inductive risks, or the risks of being wrong in different ways. (shrink)

This essay considers Benjamin Rush's concern with the political organization of sympathy in post-Revolutionary America and how this concern shaped his response to the threat of post-Revolutionary “mobocracy.” Like many of his contemporaries, Rush worried about the contagious volatility of large public assemblies engendered by the Revolution. For Rush, regular gatherings of the people out of doors threatened to corrupt visions both of an orderly and emancipatory public sphere and of the virtuous and independent citizens required by republican government. Rush (...) feared that the unregulated communication of passion between bodies gathered in public might unleash what Michael Meranze has called an “anarchy of reciprocal imitations.” It was in eighteenth-century theories of sympathy that this idea of contagious mimesis was most rigorously developed and most widely disseminated. Rush's medico-political understanding of sympathy, acquired during his years as a medical student in Edinburgh, provides an important framework for understanding his post-Revolutionary reform efforts, particularly those focused on the spatial choreography of the American citizenry. (shrink)

We make a huge variety of claims framed in vocabularies drawn from physics and chemistry, everyday talk, neuroscience, ethics, mathematics, semantics, folk and professional psychology, and so on and so forth. We say, for example, that Jones feels cold, that Carlton might win, that there are quarks, that murder is wrong, that there are four fundamental forces, and that a certain level of neurological activity is necessary for thought. If we follow Huw Price's Carnapian lead, we can put this by (...) saying that we make many claims in many different frameworks. (shrink)

If any student, graduate or advanced undergraduate, should offer to delve deeper than survey samples and seriously “take on” the Transcendentalists, he or she would be well advised to begin with the histories by Barbara Packer and Philip Gura. For that matter, these sharply differing studies will undoubtedly provoke and clarify the thinking of even the most seasoned scholars, especially if they were to read these works against each other. The more specialized though no less interesting monograph by Elisabeth Hurth, (...) which is not offered as an introductory overview, nevertheless comprises a fully imagined history in its own right, as it places Transcendentalism in the context of crucial nineteenth-century German innovations in Protestant thought, and of the American movement's thence-derived tendency—as its critics alleged—to “atheism.” These three books, as a group, raise interesting questions about how literary history is now being written, what purposes such studies can serve, what coherence “Transcendentalism” might yet retain as a subject of useful historical inquiry, and what kind of importance the movement might have for readers today. (shrink)

Recently Steven E. Boër gave another turn to the discussion of the free will defence by claiming that the free will defence is irrelevant to the justification of moral evil. Conceding that free will may be of real value, Boër claims that free will could have been allowed creatures without that leading to any moral evil at all. What I shall hereafter refer to as the ‘Boër reform’ is the suggestion that God could have allowed creatures to exercise free choices (...) but have intervened with ‘coincidence miracles’ to prevent all the intended evil from actually occurring. What is important to the free will defence, according to Boër, is the ability to choose freely and not the ability to succeed in effecting what we have intended to accomplish. It is no intrusion on the freedom of our wills for God to prevent us from accomplishing what we tried to do with our free wills as long as we were free to try. (shrink)