Variable responses to transcranial direct current stimulation protocols across individuals are widely reported, but the reasons behind this variation are unclear. This includes tDCS protocols meant to improve attention. Attentional control is impacted by top-down and bottom-up processes, and this relationship is affected by state characteristics such as anxiety. According to Attentional Control Theory, anxiety biases attention towards bottom-up and stimulus-driven processing. The goal of this study was to explore the extent to which differences in state anxiety and related measures (...) affect visual attention and category learning, both with and without the influence of tDCS. Using discovery learning, participants were trained to classify pictures of European streets into two categories while receiving 30 min of 2.0 mA anodal, cathodal, or sham tDCS over the rVLPFC. The pictures were classifiable according to two separate rules, one stimulus and one hypothesis-driven. The Remote Associates Test, Profile of Mood States, and Attention Networks Task were used to understand the effects of individual differences at baseline on subsequent tDCS-mediated learning. Multinomial logistic regression was fit to predict rule learning based on the baseline measures, with subjects classified according to whether they used the stimulus-driven or hypothesis-driven rule to classify the pictures. The overall model showed a classification accuracy of 74.1%. The type of tDCS stimulation applied, attentional orienting score, and self-reported mood were significant predictors of different categories of rule learning. These results indicate that anxiety can influence the quality of subjects’ attention at the onset of the task and that these attentional differences can influence tDCS-mediated category learning during the rapid assessment of visual scenes. These findings have implications for understanding the complex interactions that give rise to the variability in response to tDCS. (shrink)

In their paper, Hildt (2023) surveys several socio-ethical and regulatory issues arising from research into, and the potential emergence of, artificial consciousness—synthetic beings with a claim t...

In the poem which sets the seal on his three books of odes, Horace declares that his monument to himself will be more durable than bronze and higher than the pyramids. As T. E. Page noted in his commentary, aere can suggest not only bronze tablets, but also commemorative statuary, although tablets seems more to the fore here, given the reference to monumentum As for the pyramids, they are a fine example of grandiloquent architecture, but of a kind which is (...) nevertheless subject to the destructive natural forces from which Horace exempts his own commemoration. (shrink)

In the poem which sets the seal on his three books of odes, Horace declares that his monument to himself will be more durable than bronze and higher than the pyramids. As T. E. Page noted in his commentary, aere can suggest not only bronze tablets, but also commemorative statuary, although tablets seems more to the fore here, given the reference tomonumentumAs for the pyramids, they are a fine example of grandiloquent architecture, but of a kind which is nevertheless subject (...) to the destructive natural forces from which Horace exempts his own commemoration. (shrink)

This is a confusing attempt to reconcile realist philosophy with an aesthetic stand. The book includes a discussion of the contributions of artists, philosophers, and critics to the formulation of an aesthetic viewpoint; a brief history of idealistic aesthetic theory embodied in the ideas of Kant, Hegel, Croce, and Tolstoy; a definition and defense of "excellence" as the criterion in the evaluation of art; and a justification for the continued inclusion of aesthetics as a philosophical endeavor. Realists, with their emphasis (...) on the scientific approach, verification, and measurement have always had a certain amount of understandable trouble with the arts, a field known for its fluidity and willful perversity regarding attempts to establish permanent, stable criteria of evaluation. Gibson draws heavily on Wittgenstein's idea of "family resemblances" and Weitz's application of that idea to art. In doing so, however, he ignores Weitz's warning that since art has no set of necessary properties and since, therefore, it is impossible to formulate theoretical definitions of it, aestheticians might better spend their time on other issues. Gibson builds his case around a family resemblance of various, so-called permanent excellences such as "significant form," "expressiveness," and "communicative efficacy" which, he insists, just happen to converge together in "great" works of art. With this statement, as well as others concerning the effect great art must produce in the beholder, Gibson has returned to the idea of an Absolute definition which, though pluralistic in scope, is still as rigid, exclusive, and closed a concept as the ones he denounces, despite his statements of "proof" to the contrary. Mention should also be made of the weakness of the overall structure of the book. Ideas and explanations become confusing when they are dropped in driblets throughout diverse chapters. This book adds nothing to the ideas of Wittgenstein or Weitz while, at the same time, detracting considerably from the clarity and logic of their concepts.--B. T. (shrink)

This work explores an aspect of Yeats's writing largely ignored until now: namely, his wide-ranging absorption in S.T. Coleridge. Gibson explores the consistent and densely woven allusions to Coleridge in Yeats's prose and poetry, often in conjunction with other Romantic figures, arguing that the earlier poet provided him with both a model of philosopher - 'the sage' - and an interpretation of metaphysical ideas which were to have a resounding effect on his later poetry, and upon his rewriting of (...) A Vision. (shrink)

Bioethical issues remain front-page news, with debate continuing to rage over issues including genetic modification, animal cloning, and "designer babies." With public opinion often driven by media speculation, how can we ensure that informed decisions regarding key bioethical issues are made in a reasoned, objective way? Ideal for students new to the subject, Bioethics: An Introduction for the Biosciences offers a balanced, objective introduction to the field. With a focus on developing powers of reasoning and judgment, the book presents different (...) perspectives on common themes in an impartial way, thereby fostering debate and discussion. The opening section, "The Ethical Groundwork," introduces students to the nature of bioethics and ethical theory. The book goes on to cover a broad range of bioethical issues relating to people, animals, and food, before concluding with an overview of bioethics in practice. Features: * The broadest, most balanced textbook on bioethics available, offering students just the right mix of science and philosophy as well as a clear, objective introduction to the subject * Presents different perspectives on common themes in order to encourage students to question, evaluate, and form their own opinions * Incorporates many useful pedagogical tools including self-assessment questions, topics for discussion, and exercises * Includes references for further reading and useful web sites * A companion website offers resources for both students and instructors. (shrink)

Most debate about the ethical implications of modern biotechnology has centred around medical issues, but public concerns over the impact of agricultural biotechnologies have gathered momentum. This volume, resulting from the 55th University of Nottingham Easter School in Agricultural and Food Science, provides a survey of this new field of enquiry. The book will be of interest to a wide readership, including applied philosophers, sociologists, economists and ecologists, as well as biotechnologists and agricultural and food scientists.

Greek art and literature follow parallel courses through the long period from Homer to Euripides. Homer and Euripides, Dipylon vases and the latest white lekythoi are as far apart from each other as it is possible for works in the same medium to be. The distance can only be explained by a similar change in the views of artists, writers, and their public.

in this article, we explore how responsible research and innovation (RRI) interacts with the current political context. We examine the (1) possible consequences for RRI and related agendas if values associated with ‘populist’ movements become more pervasive, (2) the role that a lack of RRI has potentially played in the development of this political context, and (3) how RRI as a concept, practice, and research agenda should respond. We argue that whilst RRI is threatened, it is now more important than (...) ever. We propose that RRI needs to go beyond being a method for facilitating societal input into research and innovation and for highlighting desired impacts. RRI needs to evolve to provide an effective conduit for criticisms and the input of critical thinking and reflexivity into science and innovation, including in terms of economic policy and politics. (shrink)

In answer to Professor Beare's note, which he has generously shown me, I would make the following points: I think it unlikely that Middle Comedy was more obscene than Old Comedy, and the Attic vases go back to about 420 B.C., 110 f.).

The comic is one of the principal esthetic categories; it unites the multifaceted experience of the social mind as it assimilates and cognizes the world, particularly the social world, on the basis of axioms of common sense, or even of public opinion about these axioms. Boldly violating the laws of logic and the verisimilitude of images, of normal connections and notions, and playing upon these violations, the comic nonetheless remains firmly on the side of common sense. The comic is inexhaustible (...) in its nuances — from light merriment and entertainment to malicious ridicule and satire, from gross farce to subtle forms of irony and humor. (shrink)

In this paper we consider the effect of unitarity bounds sb⩾s≡(E1+E2) cms 2 for the recently proposed types of nonderivative 4-fermion contact interactions. To this purpose we decompose the helicity amplitudes at c.m.s. into partial waves. The bounds are defined to hold for all reaction channels due to the same type of contact interaction. We find sb=τ4π/κ. Here κ is the coupling constant. The factor τ depends on the type of coupling and on the different cases to identify the fermions. (...) It ranges from 1/3 to 4. (shrink)

Marx was barely 25 when he produced this astonishing rich body of work-including economic and Philosophical Manuscripts and On the Jewish Question.

The late Sir George Hill in the first volume of his monumental History of Cyprus remarks that the Cypriot syllabary is found in use until the third century B.C. This, it may be noted, is the traditional opinion which for some sixty years has stood the test of time. I read therefore with interest on p. 330 of the same volume, among the addenda, that ‘pottery with incised inscriptions, discovered in 1939 in an excavation four miles from Nicosia, shows that (...) the syllabary continued to be used as late as the first century B.C.’ Sir George Hill in effect is here accepting the claim of Mrs. E. H. Dohan and Professor R. G. Kent, which he has hitherto ignored, that the syllabary survived until 50 B.C. Now this is an important claim, partly because it would add from two to three centuries to the life-span of a script already in possession of a long and reputable lineage; more particularly because, if true, it will convict the ancient Cypriot, admittedly a conservative individual, of a degree of conservatism with which I find it hard to credit even him. That there should still have been men in the hinterland of the island under the governorship of Cicero so little affected by the impact of the whole Hellenistic age that they were prepared to write Greek in a manner so uncouth and preserve, incidentally, certain elements of their old Arcadian tongue, is to my thinking highly improbable. A fresh examination of the evidence on which Mrs. Dohan and Professor Kent based their claim is clearly called for. (shrink)

In The Theatre of Dionysus in Athens Dr. Pickard-Cambridge includes a most useful and convenient collection of south Italian vase-paintings which have been held to throw light on the stage-settings of Greek tragedy. He concludes that they give no evidence for Athens in the fifth century and in particular do not justify the assumption that interior scenes were played in a porch in front of the central door. The second conclusion is true, but some of the vases do show that (...) the central doors could be thrown wide open to display an interior scene. The first conclusion is formally correct, but it should be remembered that the “plays came from Athens, and it is at least possible that the south Italian producers modelled themselves on Athenian producers. In any case these vases are worthy of further consideration. (shrink)