In “The Train Paradox”(Philosophia (2006) 34: 437–438) Gwiazda proposes the use of the relativity of simultaneity to formulate a new paradox. My purpose here is to show that there is no Train Paradox in Gwiazda’s sense.

When two omnipotent beings are randomly and sequentially selecting positive integers, the being who selects second is almost certain to select a larger number. I then use the relativity of simultaneity to create a paradox by having omnipotent beings select positive integers in different orders for different observers.

There is considerable support for the idea that an atmosphere of safety can foster learning in groups, especially during ethics training courses. However, the question how safety dynamics works during ethics courses is still understudied. This article aims to investigate safety dynamics by examining a critical incident during a military ethics train-the trainer course during which safety was threatened. We examine this incident by means of a four-factor analysis model from the field of Theme-Centered Interaction (TCI). We show that (...) during ethics training courses a safety paradox can occur, involving a tension between honesty and openness to other perspectives and values. Finally, we discuss how trainers can foster safety during ethics training. (shrink)

This paper examines the paradoxical transparency involved in training machine-learning models. Existing literature typically critiques the opacity of machine-learning models such as neural networks or collaborative filtering, a type of critique that parallels the black-box critique in technology studies. Accordingly, people in power may leverage the models’ opacity to justify a biased result without subjecting the technical operations to public scrutiny, in what Dan McQuillan metaphorically depicts as an “algorithmic state of exception”. This paper attempts to differentiate the black-box abstraction (...) that wraps around complex computational systems from the opacity of machine-learning models. It contends that the degree of asymmetry in knowledge is greater in the former than the latter. In the case of software systems, software codes are difficult to understand as only software experts with sufficient domain knowledge are equipped to formulate a sound critique. In contrast, the meanings of trained parameters in a machine-learning model are obscure even to the data scientists who configure and train the model. Hence, the asymmetry of knowledge lies only in how data examples are collected, the choice and configuration of machine-learning models, and the specification of features in model design. Under the trend of algorithmic decision-making proliferating with machine-learning heuristics, the paper contends that the more symmetric distribution of knowledge in machine learning could lead to a more transparent production process if proper policies are in place. (shrink)

The job of butcher requires the routinized mass killing of nonhuman animals and has damaging mental health consequences for individuals and negative impacts on society. However, vocational training for butchers is part of many educational systems in the European Union where teenagers can start training from the age 0/15. In this article, I explore the effects of the violent content of this training on young people and its relation to the context of their developmental period—adolescence. In addition, I examine society’s (...) paradoxical stance on violence where it is both abhorred and sanctioned as well as normalized in various employment contexts. (shrink)

ABSTRACT At first glance, a military life and practising Buddhism may seem like two pursuits at odds. Buddhism sets the moral bar very high and nowhere in its teachings can one find any evidence in support of violence, whether in word, thought or deed. One could therefore argue that Buddhism and the military are two strange bedfellows, and some may find it difficult to conceive of serving in the military whilst adhering to the ethos, values and standards of Buddhism. This (...) article challenges this popular myth and resolves this apparent paradox between Buddhism and the military. By drawing on canonical Buddhist teachings as well as voices from the Sangha and Buddhist military practitioners, we demystify the ‘Buddhist soldier’ and clear common misconceptions regarding: the fundamental teachings of ahiṃsā, karma and skilful (kusala) action; Buddhist teachings being equated to pacifism; the duty of soldiers and the State to protect; soldiering as a ‘right livelihood’; and the karmic implications of military professions. Using international humanitarian law, the body of law regulating the conduct of war, as a natural reference point, we explore what guidance Buddhist teachings provide to soldiers and how they potentially can contribute towards reducing suffering in war, including through application in military training. Buddhism endorses the concept of maintaining disciplined, virtuous and skilled military forces to protect what is good. At all times one needs to aim at not causing suffering to others, but never at the expense of preventing even worse suffering. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Paradoxical Pleasures of Human ImaginationOmar Sultan HaqueHow Pleasure Works: The New Science of Why We Like What We Like, by Paul Bloom. W. W. Norton, 2010, 280 pp., $26.95.Have you heard about that chump who dished out $48,875 for John F. Kennedy's dusty old tape measure? The rock star who allegedly snorted his father's ashes with some cocaine? The creepy German guy who put out an advertisement for (...) someone who would let themselves be eaten by him (only to have hundreds volunteer)? The story about the man who was tired with his wife, but powerfully aroused when he was convinced he was with an exact duplicate of her? How can a staunch atheist also believe in the numinous? Why do people buy expensive wines, and bottled water, even though in blind taste tests, they can't distinguish them from the cheap stuff? Why buy pâté when your palate can't distinguish it from dog food? Why do people pay hundreds of dollars to hear the famous violinist Joshua Bell perform, but then cannot even spare a dime when a disguised Bell plays the same music on the subway in regular garb? Why might someone who trains people to prevent falls and injury enjoy watching a comedian fall and hurt himself? Why would someone pay a few hundred thousand dollars for art that consisted of someone else's unmade bed?It may be is easy to feel smug when thinking about this panoply of apparent irrationality in individual decisions and general human propensities. But the things that uniquely delight us may not be as [End Page 182] capricious as they seem. Many of the pleasures (curious or ordinary) that we get from our relationships with food, sex, irreplaceable objects, performances, safety and pain, music, literature and the imagination may have a deeper logic. They may be explicable by a better understanding of how our evolved minds work, and don't work, amidst our historically novel environments. Or so argues Paul Bloom—a cognitive developmental psychologist at Yale University—in How Pleasure Works, a brilliant and articulate synthesis of philosophy, psychology, evolutionary biology and the arts that elucidates the seemingly whimsical and once mysterious sources of our uniquely human hedonic satisfactions.The theory Bloom utilizes to systematize aspects of a number of pleasure phenomena is called psychological essentialism. This is an idea that has been developed in the last two decades by Bloom and the psychologists Douglas Medin, Andrew Ortony, Frank Keil, and Susan Gelman, among others.1 Psychological essentialism claims that, as Bloom puts it, people reliably, at a very young age, cross-culturally and throughout history, think that "things have an underlying reality or true nature that one cannot observe directly and it is this hidden nature that really matters." We assume that objects, artifacts, non-human animals, people and groups have invisible essences and unseen orders that account for their surface properties. In one of Keil's experiments, for instance, children thought that a dog made to look like a toy dog, a porcupine that had a surgery to make it look like a cactus, and a tiger stuffed into a lion suit were still a dog, porcupine and tiger, respectively. However, when each animal had its 'innards' altered, children said the animals changed into different categories, like objects or plants.2 Psychological essentialism for artifacts or tools is somewhat different from that for animate entities; the essence of artifacts is their history and the intentions of their creators.3According to How Pleasure Works, because of psychological essentialism, many human delights seem to arise that cannot be explained by simply appealing either to their low-level sensual qualities or their practical utility. Thus, the theory helps clarify some of pleasure's paradoxes. Like parents who affectionately keep tokens of their children's time as a baby, someone can enjoy owning a tape measure from a famous person because of its history of uses or other associations with important places or people. Snorting dad's ashes (however noxious to the nostrils), or pigging out on someone whom you admire, can be deeply meaningful because it feels as if one is... (shrink)

Morally, when should one retire from one’s job? The surprising answer may be ‘now’. It is commonly assumed that for a person who has acquired professional training at some personal effort, is employed in a task that society considers useful, and is working hard at it, no moral problem arises about whether that person should continue working. I argue that this may be a mistake: within many professions and pursuits, each one among the majority of those positive, productive, hard working (...) people ought to consider leaving his or her job. (shrink)

The evident remoteness between the religious postulates and the secular activity has led us to spiritual disorder and the oblivion of the authentic needs and aspirations of the human being. The current mentality and practice, towards what is considered merely useful or verifiable, has led us to this antinomy of polarized extremes, either towards an anthropocentrism that survives in a paradoxical happiness, disproportionate in the search for the strictly tangible, or towards an economic or ecological discourse that forgets the ontological (...) idea, and the authentic value and meaning of the human being. From a positive and normative analysis, this study aims to emphasize the importance of the so-called 'Integral Training’, taught by some university centers, as a promoter of the psychological and spiritual well-being, as well as the attitudes of sustainable entrepreneurship, in an ethical way and responsible. (shrink)

Ives et al claim to have identified a paradox within patient and public involvement in research1—that is, that the benefits of PPI can never be fully realised because when a lay person is trained to a level at which they can make a useful contribution to research, they lose their unique ‘lay’ perspective. They conclude that we should not train lay people in research before involvement. Ives et al also conclude that we should not develop a collaborative approach (...) to PPI in conducting research. Both these conclusions are flawed. PPI does not always involve the lay person acquiring the same skills as a researcher, and even when it does, that person never loses their unique ‘lay’ perspective.PPI is a complex activity that is highly context dependent. There are many different kinds of involvement requiring different kinds of lay expertise. In many cases the lay person does not need to acquire research skills in order to be effective. They can make useful contributions without being ‘turned into a researcher’. The views of the lay person are complementary to those of the technical experts. PPI provides an insight into the interests and concerns of the participants and …. (shrink)

This article considers the differences between Edmund Husserl and Martin Heidegger in light of Pascal’s distinction between the esprit de géometrie and the esprit de finesse. According to Pascal, the essential “principles” dominating our perceptual lives cannot be clearly and confidently demonstrated in a manner akin to logic and mathematics, but must be discerned in a more spontaneous or intuitive manner.It is unsurprising that Husserl, originally a student of mathematics, might seem closer to the esprit de géometrie, whereas Heidegger, trained (...) in theology and drawn to poets and poetic thinkers, is closer to the esprit de finesse. This difference is clear from the styles of writing of these two seminal figures. I consider how this stylistic difference is also linked with the substance of their respective philosophies, and with the approaches they recommend for exploring subjective life. A related difference concerns how each theorist responds to what Husserl called the “paradox of human subjectivity” and what Michel Foucault later termed the “empirico-transcendental doublet”: the fact that, in doing phenomenology, human consciousness exists as both the subject and the object of our knowing. Husserl mostly emphasized the advantages, epistemological and existential, that this potential reflexivity can afford. Heidegger was more interested in the obstacles or traps it sets—both for accurate self-knowledge and for authentic living. These issues are discussed in relation to the “natural attitude” and “everydayness,” and to the linguistic grounding of human existence and knowledge—especially as these issues emerge in Foucault’s Les mots et les choses and Eugen Fink’s Sixth Cartesian Meditation. (shrink)

Cultural competence has become a ubiquitous and unquestioned aspect of professional formation in medicine. It has been linked to efforts to eliminate race-based health disparities and to train more compassionate and sensitive providers. In this article, I question whether the field of cultural competence lives up to its promise. I argue that it does not because it fails to grapple with the ways that race and racism work in U.S. society today. Unless we change our theoretical apparatus for dealing (...) with diversity to one that more critically engages with the complexities of race, I suggest that unequal treatment and entrenched health disparities will remain. If the field of cultural competence incorporates the lessons of critical race scholarship, however, it would not only need to transform its theoretical foundation, it would also need to change its name. (shrink)

What motivates the voluntary suffering of training for a long-distance run – or any other difficult athletic skill? Long-term pleasure cannot adequately explain this seemingly masochistic activity. On the contrary, I argue that pleasure, or “reinforcement,” is not the only ultimate motivator of behavior. Each of the emotion systems defines its own intrinsic values, including an innate “play” system and an innate “exploratory drive” that is included in what neuropsychologist Jaak Panksepp calls the “SEEKING system” of the emotional brain. Panksepp’s (...) description of the conscious dimension of SEEKING is remarkably similar to Otto Rank’s descriptions of his “love of life” dimension of motivation, which actually conflicts with the pleasure principle. The desire for pleasure is a desire to reduce consummatory drives, which means reducing the energy level of our bodily systems. Complete reduction would be death. If there were no competing motivation in the other direction, there would be nothing to keep us alive. The SEEKING system is what does that. It motivates a higher energy level. In the case of athletic training, we do not have to “force ourselves” to this higher energy level. The SEEKING system is an innate natural drive. If we were to deliberately try to just sit on a couch indefinitely, at some point we would fail. (shrink)

Clinicians have a convention whereby symptoms are subjective statements 'as told by' patients, whereas signs are outwardly observable facts. Yet both first-person reports and third-person observations are theory laden and can bias conclusions. Two aspects of the oft-mentioned unreliability of reports are the subject's interpretation of them and the experimenter's assumptions when translating introspective reports into scientifically useful characterizations. Meticulous training of introspectors can address their mischief, whereas investigators can become more attentive to their own theory-laden biases. In the case (...) of hallucinations, for example, ignoring some customary third-person constructs and focusing on the visual experience itself has led to fresh explanations of visual symptoms based on cortical physiology rather than conceptual categories. Constructs that historically have ignored the subject's state of mind are also problematic; an example is the so-called resting state during metabolic brain imaging, long believed to reflect a blank mental slate. Introspective reports, not accepted literally but properly interpreted and revised by investigators as necessary, are legitimate sources of data. (shrink)

Jon Kabat-Zinn's Full Catastrophe Living skilfully succeeded in translating traditional Buddhist concepts in modern everyday language so as to make them accessible to the West. It was a stroke of genius to take mindfulness training out of the Buddhist context, but the risk might be that, instead of opening a door to the Dharma (the Buddhist teaching), it might also close a door leading to the vast richness of that context full of valuable insights and practices. This article aims at (...) back translating some mindfulness concepts to basic Buddhist concepts (in a movement opposite to Jon Kabat-Zinn's first move) to make Buddhist literature more accessible to MBSR/ct teachers that are less familiar with the Buddhist traditions and to allow us reconnect with some treasures that are present in our roots. It freely walks through texts and concepts of different Buddhist traditions when they seem relevant to this enterprise, drawing from the logic of the Pali Canon, the metaphors of the Mahayana sūtras and the paradoxes of Zen koans. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving (...) seconds too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 2, November 2004, pp. 213-236 Pleased and Afflicted: Hume on the Paradox of Tragic Pleasure E. M. DADLEZ How fast can you run? As fast as a leopard. How fast are you going to run? A whistle sounds the order that sends Archie Hamilton and his comrades over the top of the trench to certain death. Racing to circumvent that order and arriving (...) seconds too late, Archie's friend Frank screams in rage and despair. Archie is cut down before he has run twenty yards. Peter Weir's film Gallipoli is a chronicle of the disastrous Dardanelles campaign of the first World War, but it is also a film about racing. Archie is trained by his uncle Jack to run "as fast as a leopard." The film begins as it ends, with Archie sprinting in response to a whistle. Frank is first shown racing after a train, along with friends who are on their way to enlist. Archie and Frank meet while competing in a race, they race in Cairo once they have enlisted, and they finally race death. From the beginning, Archie has been faster; even at the end he is the first to die. And from the beginning he has swept Frank along in his wake, encouraging him, pushing him, inspiring him, and helping him to positions for which he is inadequately qualified. In the end, Archie's compassion and kindness prompt a decision which has grim consequences both for himself and for hundreds of others. Knowing that his friend fears death in the trenches, Archie recommends Frank as a substitute for himself, a designated message runner. But Frank is not fast enough, and falls short by mere seconds which Archie would not have lost. This is what leads to the failure of the one real effort to countermand the fatal charge. E. M. Dadlez is Professor of Humanities and Philosophy, University of Central Oklahoma, Edmond, OK 73034, USA. e-mail: [email protected] 214 E. M. Dadlez I am an emotional wreck by the time the movie is over, though I should admit that most of my tears are the result of sheer rage. Both my dogs exited the room in some haste once I began to shout at the television and the unpardonably dimwitted British officers who sat sipping tea at a comfortable distance as they gave the order for soldiers to commit suicide. But it isn't just the scope of the real human disaster, or the enormity of the blunder, or the pointlessness of the entire enterprise, or even my renewed conviction that stupidity is, in fact, evil, that is so unsettling. The film unnerves with respect to personal as well as global concerns, focusing attention on the chance of vanity's leading one to undertake responsibilities beyond one's competence, the possibility of advancement or security being achievable only at the expense of another, and the realization of how easy it might be to let those things happen. Gallipoli is a sad, disturbing film, and the spectator is grieved and disturbed in the course of watching it. Yet, having said that, I must own to having a copy in my possession, and to having watched it more than once. I recommend it to friends, offering to lend them my videotape. In fact, I press it on them. I say that it is a terrific, rewarding work which they should take the time to see. How is it that I can describe my experience of the film in such glowing terms and at the same time acknowledge the extreme distress I felt in the course of watching it? How can I reconcile the discordant aspects of my experience? David Hume explores some possible answers in his essay "Of Tragedy."1 He begins by calling attention to the paradox of tragic pleasure: It seems an unaccountable pleasure, which the spectators of a well written tragedy receive from sorrow, terror... and other passions, which are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle.... The whole art of the poet is employed in rousing and supporting the compassion and... (shrink)

This article investigates a puzzle in the rapidly evolving profession of advertising in post-socialist Hungary: young professionals who came of age during the shift to market-driven practices want to produce advertising that is uncompromised by clients and consumers, and to educate others about western modernity. It is their older colleagues—trained during customer-hostile socialism—who emphasize that good professionals serve their clients’ needs. These unexpected generational positions show that 1) professions are more than groups expanding their jurisdiction. They are fields structured by (...) two conflicting demands: autonomy of expertise and dependence on clients. We can explain the puzzle by noting that actors are positioning themselves on one or the other side based on their trajectory or movement in the field relative to other actors. Old and new groups vie for power in the transforming post-socialist professional field, responding to each other’s claims and vulnerabilities, exploiting the professional field’s contradictory demands on its actors. 2) The struggle is not between those who are oriented to the west and those that are not. Rather, the west is both the means and the stake of the struggle over historical continuity and professional power. Imposing a definition of the west is almost the same as imposing a definition of the profession on the field. In this historical case, “field” appears less as a stable structure based on actors’ equipment with capital, than as dynamic relations moved forward by contestation of the field’s relevant capital. (shrink)

How might artificial neural networks (ANNs) inform cognitive science? Often cognitive scientists use ANNs but do not examine their internal structures. In this paper, we use ANNs to explore how cognition might represent musical properties. We train ANNs to classify musical chords, and we interpret network structure to determine what representations ANNs discover and use. We find connection weights between input units and hidden units can be described using Fourier phase spaces, a representation studied in musical set theory. We (...) find the total signal coming through these weighted connection weights is a measure of the similarity between two Fourier structures: the structure of the hidden unit's weights and the structure of the stimulus. This is surprising because neither of these Fourier structures is computed by the hidden unit. We then show how output units use such similarity measures to classify chords. However, we also find different types of units—units that use different activation functions—use this similarity measure very differently. This result, combined with other findings, indicates that while our networks are related to the Fourier analysis of musical sets, they do not perform Fourier analyses of the kind usually described in musical set theory. Our results show Fourier representations of music are not limited to musical set theory. Our results also suggest how cognitive psychologists might explore Fourier representations in musical cognition. Critically, such theoretical and empirical implications require researchers to understand how network structure converts stimuli into responses. (shrink)

Social justice is a concept we take for granted. We assume that it means using state structures to ensure equality and fairness. But is that true? Or, do state structures of social order actually inhibit creativity, freedom, social welfare, and belonging? This collection broadens the boundaries of the ways we think about what constitutes criminality and interrogates issues of social justice and power in new, innovative and critical ways. The essays examine a wide variety of themes, including the deconstruction of (...) concepts of freedom and equality, notions of criminality and deviance, state regulation of social order, and various aspects of feminist criminology. (shrink)

In ‘The Train Paradox’, I argued that sequential random selections from the natural numbers would grow through time. I used this claim to present a paradox. In response to this proposed paradox, Jon Pérez Laraudogoitia has argued that random selections from the natural numbers do not grow through time. In this paper, I defend and expand on the argument that random selections from the natural numbers grow through time. I also situate this growth of random selections (...) in the context of my overall work on infinite number, which involves two main claims: 1) infinite numbers, properly understood, are the infinite natural numbers in a nonstandard model of the reals, and 2) ω is potentially infinite. (shrink)

This book is an exploration of philosophical questions about infinity. Graham Oppy examines how the infinite lurks everywhere, both in science and in our ordinary thoughts about the world. He also analyses the many puzzles and paradoxes that follow in the train of the infinite. Even simple notions, such as counting, adding and maximising present serious difficulties. Other topics examined include the nature of space and time, infinities in physical science, infinities in theories of probability and decision, the nature (...) of part/whole relations, mathematical theories of the infinite, and infinite regression and principles of sufficient reason. (shrink)