Cognitive agents are dynamical systems but not quantitative dynamical systems. Quantitative systems are forms of analogue computation, which is physically too unreliable as a basis for cognition. Instead, cognitive agents are dynamical systems that implement discrete forms of computation. Only such a synthesis of discrete computation and dynamical systems can provide the mathematical basis for modeling cognitive behavior.

Various issues concerning the neural blackboard architectures for combinatorial structures are discussed and clarified. They range from issues related to neural dynamics, the structure of the architectures for language and vision, and alternative architectures, to linguistic issues concerning the language architecture. Particular attention is given to the nature of true combinatorial structures and the way in which information can be retrieved from them in a productive and systematic manner.

We discuss a visual blackboard architecture that could be involved in imagery. In this architecture, networks that process identity information interact with networks that process location information, in a manner that produces structural (compositional) forms of representation. Architectures of this kind can be identified in the visual cortex, but perhaps also in prefrontal cortex areas related with working memory.

We discuss the role of synchrony of activationin higher-level cognitive processes. Inparticular, we analyze the question of whethersynchrony of activation provides a mechanismfor compositional representation in neuralsystems. We will argue that synchrony ofactivation does not provide a mechanism forcompositional representation in neural systems.At face value, one can identify a level ofcompositional representation in the models thatintroduce synchrony of activation for thispurpose. But behavior in these models isalways produced by means conjunctiverepresentations in the form of coincidencedetectors. Therefore, models that rely onsynchrony (...) of activation lack the systematicityand productivity of true compositional systems.As a result, they cannot distinguish betweentype and token representations, which resultsin misrepresentations of spatial relations andpropositions. Furthermore, higher-levelcognitive processes will likely integrateinformation from widely distributed areas inthe brain, which puts severe restrictions onthe underlying neural dynamics if synchrony ofactivation is to play a role in theseprocesses. We will briefly discuss theserestrictions in the case of feature binding invisual cognition. (shrink)

Human cognition is unique in the way in which it relies on combinatorial (or compositional) structures. Language provides ample evidence for the existence of combinatorial structures, but they can also be found in visual cognition. To understand the neural basis of human cognition, it is therefore essential to understand how combinatorial structures can be instantiated in neural terms. In his recent book on the foundations of language, Jackendoff described four fundamental problems for a neural instantiation of combinatorial structures: the massiveness (...) of the binding problem, the problem of 2, the problem of variables, and the transformation of combinatorial structures from working memory to long-term memory. This paper aims to show that these problems can be solved by means of neural “blackboard” architectures. For this purpose, a neural blackboard architecture for sentence structure is presented. In this architecture, neural structures that encode for words are temporarily bound in a manner that preserves the structure of the sentence. It is shown that the architecture solves the four problems presented by Jackendoff. The ability of the architecture to instantiate sentence structures is illustrated with examples of sentence complexity observed in human language performance. Similarities exist between the architecture for sentence structure and blackboard architectures for combinatorial structures in visual cognition, derived from the structure of the visual cortex. These architectures are briefly discussed, together with an example of a combinatorial structure in which the blackboard architectures for language and vision are combined. In this way, the architecture for language is grounded in perception. Perspectives and potential developments of the architectures are discussed. Key Words: binding; blackboard architectures; combinatorial structure; compositionality; language; dynamic system; neurocognition; sentence complexity; sentence structure; working memory; variables; vision. (shrink)

van de Kamp, Gerrit Interest in various types of Spirit Christology has remained constant throughout the past. This type of Christology is usually recognised and valued for the attention it devotes to the true humanity of Christ. In this area Spirit Christology has an advantage over classical Christology, as the latter is blamed for not doing justice, or for being incapable of doing justice, in its expositions, to the fact that Christ is truly man. On the other hand Spirit Christology (...) fails to escape the charge that it cannot do justice to maintaining the uniqueness of Christ. In discussing the work of theologians who advocate some kind of Spirit Christology, therefore, we encounter the names of historical propositions that have been condemned in pronouncements of authoritative church fathers and councils. In Christological perspective this generally means adoptionism or in one instance psilanthropism, the proposition that Jesus was merely man. At the base of this rejection lies the fear of putting church teaching on the Trinity at risk through modalism or binitarianism. So we often see that those sympathising with Spirit Christology still opt for classical Christology. (shrink)

Beschouwing door de rabbijn over het wetsvoorstel om onverdoofde, rituele slacht te verbieden, gezien als een aantasting van de vrijheid van godsdienst van zowel joden als moslims.

Dans L’Etoile..., donc avant de devenir avec Buber le traducteur de la nouvelle Bible en allemand, Rosenzweig s’appuie sur une théorie du langage comparable à celle, contemporaine, de Benjamin, et centrée sur l’idée que le sens s’est, depuis l’origine, déposé dans des noms. Ce qui l’entraîne à interpréter Genèse I en s’appuyant sans en être conscient sur la version des LXX, et en passant à côté de la syntaxe et de la sémiotique propres du texte; or le sens n’est pas (...) antérieur à son expression, et Genèse I ne peut donc conforter la conception rosenzweigienne du langage, pas plus, chez Benjamin, l’interprétation qu’il donne de Genèse II. (shrink)

This publication contains reflections on Jacques Ranciáere's essay 'The Ignorant Master' by the artist Marc De Blieck and the art philosopher Volkmar Mèuhleis. The artist's practice is assuming an expanding variety of forms, the artist can leap from one method to another, and the media available to him, old and new, appear inexhaustible. Can and should art education prepare the artist for this? One possibility is to bring a never-ending abundance of experts into the art schools. Ranciáere offers us (...) a provocative alternative in the form of Jacotot, the ignorant master. In part, the book indirectly endorses present-day art education, but at the same time a number of the controversial arguments it contains challenge one to self-reflection. (shrink)

Alain Badiou’s philosophy is an attempt to re-establish truth in modern thought. The main – and indeed sole – criterion for truth is universality, he argues in all of his works, including the one on Saint Paul on which this essay focuses. In this book, Badiou argues that most of Saint Paul’s doctrinal topics can be related to the main concerns of his own thought. Thus Paul’s belief in Christ’s resurrection illustrates his own theory of the ‘event’; Paul’s characterization of (...) the church is linked with his own theory of the subject; and, finally, Paul’s entire intervention can be seen as one of the first affirmations in history of truth’s main criterion: universality.This article demonstrates how an unarticulated assumption secretly sustains Badiou’s entire theoretical framework: his belief in universal truth is supported by a belief in being’s inherent goodness. Badiou’s ‘ontology’ thus appears not so exclusively formal as he claims. Through a confrontation between Badiou’s interpretation of Paul and a reading of chapter eleven in Paul’s Letter to the Romans, the essay shows how the universality that Paul’s text claims contains an important element that Badiou’s reading – and his entire philosophy – neglects. This element involves a distorted dialectics that has resonances with both the Derridean concept of the ‘originary supplement’ and Lacan’s notion of ‘objet petit a’. The essay closes with some critical reflections on the way Badiou connects truth with time. (shrink)

La manière de concevoir ce qu’est un texte relève d’une conception des sources du sens; cette conception découle d’une prise de position philosophique non seulement sur le langage, mais sur les pratiques discursives, celle de l’interprétation, comme celle de la traduction. À partir d’un exemple, emprunté à la Bible, et de la conception que Ricœur développe de ce qu’il entend par “texte,” on montrera à quelles impasses peuvent conduire des interprétations et, donc, des traductions qui refusent de situer les sources (...) du sens dans les textes. (shrink)

Leo Strauss reconnaît, en 1970, qu'il doit tout ce qu'il a découvert d'important en matière de discours exotérique à Lessing. La présente étude cherche à montrer d'abord le bien-fondé de cette affirmation en explorant ce que le jeune Strauss a pu puiser chez Lessing dans les travaux qui l'occupèrent de 1921 à 1937. Cet examen nous conduit aussi à ce qu'ont pu dire de Lessing Rosenzweig et Cohen (et qui va dans le sens de ce que Strauss en comprenait) qu'aux (...) textes de Lessing luimême où, effectivement, Strauss a considérablement puisé, et qui sont bien l'une des sources principales de ses problématiques et de ses orientations. Leo Strauss, in 1970, admits that everything of importance that he discovered in the field of esoteric discourse he owes to Lessing. This study (the following study) attempts to show, first off, the validity of this statement by examining what the young Strauss could have drawn from Lessing in the work that occupied him from 1921 to 1937. This includes what Rosenzweig and Cohen may have said of Lessing (more or less what Strauss himself understood of him), as well as Lessing's own texts from which Strauss did draw considerably, which are surely one of the principal sources of his problematics and orientations. (shrink)

Teaching about technology, at all levels of education, can only be done properly when those who teach have a clear idea about what it is that they teach. In other words: they should be able to give a decent answer to the question: what is technology? In the philosophy of technology that question is explored. Therefore the philosophy of technology is a discipline with a high relevance for those who teach about technology. Literature in this field, though, is not always (...) easy to access for non-philosophers. This book provides an introduction to the philosophy of technology for such people. It offers a survey of the current state-of-affairs in the philosophy of technology, and also discusses the relevance of that for teaching about technology. The book can be used in introductory courses on the philosophy of technology in teacher education programs, engineering education programs, and by individual educators that are interested in the intriguing phenomenon of technology that is so important in our contemporary society. (shrink)

This word index to the Metaphrasis of the Odes by Joannes Geometres is based on the critical edition, which was published in GRBS 44 , 375-410. All words are listed in alphabetical order according to the following principles: nouns: singular and plural; adjectives: singular and plural; verbs: active , m iddle and passive. Remarks concerning gender, case, mood etc. are added if necessary.

Im Jahre 1886 erregte I. Hilberg großes Aufsehen, als er in einem Artikel über die Autorschaft des Christus patiens auf die verschiedene Behandlung der dichrona bei den Jambographen der byzantinischen Epoche hinwies – die bis heute herrschende Anschauung geht dahin, dass α, ι und υ bei den byzantinischen Jambographen ausnahmslos mittelzeitig sind – und, je nach der absoluten Korrektheit in der Versifikation, sowohl was die Quantität als was die Zäsuren betraf, die Autoren in drei Gruppen meinte einreihen zu können: die (...) Classiker, die Epigonen und die Stümper. P. Maas griff diesen Standpunkt quasi unmittelbar an; er bemerkte sarkastisch, dass in diesem Fall Georgios Pisides, umstrahlt von der Glorie reinster Quantität einsam über allen anderen Dichtern in der einsamen Höhe seines „klassischen“ Himmels thronen würde, und dass die Byzantiner in Wirklichkeit von der Quantität der Vokale nichts hörten, da dieselben einfach isochron geworden waren. Dies hat nicht verhindert, dass F. Scheidweiler lange danach doch untersucht hat, ob die Poesie des Joannes Geometres noch der antiken Quantitätslehre entspricht, oder konkreter: dem Metrum des jambischen Trimeters:In diesem Beitrag möchte ich, mit den Untersuchungen von Scheidweiler als Richtschnur, der Frage nachgehen, in welchem Maβe der Dichter in seiner Μετάφϱασις των ώδων tatsächlich noch die antike Metrik respektiert. (shrink)

The poetical corpus of 11th-c. Christopher Mitylenaios, such as it is found in manuscript No. Z α XXIX (13th c.) of the Biblioteca della Badia Greca in Grottaferrata, consists of 145 poems and 2856 verses. Of these carmina 123 are written in jambic trimeters, 18 in dactylic hexameters, three in elegiac distichs, and one in an Anacreontic metre. In the first part of the article outer metric is discussed; among other things one learns that the Anacreontic poem 75 forms metrically (...) a case of its own as it consists of eight strophes of four verses each, whereby the even strophes are followed by two so-called koukoullia, that the dactylic hexameters use 28 out of 32 possible schemes, thus contrasting with the Callimachean and Nonnian types, and that in the dodecasyllables the so-called Binnenschluss after the 5th foot is overwhelmingly present while in no less than 16 hexameters the poet uses a caesura after the 3rd foot. In the second part (inner metric) the numerous transgressions of metrical laws are investigated, as well as verse end and accentuation, and prosody; this last item concerns long and short vowels, diphthongs and dichrona, correptio Attica and hiatus. The text ends with a twofold appendix about caesurae. (shrink)

Religion plays a crucial role in the critical dimension of Pasolini’s movies. Yet the religion performed there is a thoroughly ‘pagan’ religion, a religion that is itself not critical at all. The question to be raised is why Pasolini does not refer to the ‘monotheistic’ kind of religion, which is critical – and even religion critical – in its core. The article tries to develop an answer to that question by means of patient and profound reflection upon Pasolini’s definition of (...) ‘God’ as “a dream that allows no sleep and from which one cannot waken”. (shrink)

Psychoanalytical theory's main axiom tells that drive does not function in a 'natural', but in a distorted and 'perverted' way. Drive's most basic purpose is not the organism's self-preservation, but its 'pleasure' . That is why life, being natural and biological, is not lived naturally and biologically: the organism takes a'polymorph perverse' distance towards its natural, biological functioning and, in that very distance, 'enjoins' it. On the most fundamental level, it lives from that very 'pleasure'. Lacan's theory of desire is (...) an elaboration of that Freudian thesis on the polymorph perverse pleasure principle. The Lacanian 'ethics of desire', elaborated in his sixth and seventh seminar, is built upon that thesis as well. That is why, at the very end of his sixth seminar , he defines sublimation as 'perverse' and therefore of ethical value: in a non-repressing way, sublimation opens up desire to its polymorph perverse ground. However, in the next seminar , Lacan changes his theory on both sublimation and perversion. Now, sublimation is defined as the cultural gesture by which we put a desired object on the level of 'das Ding' . Here, perversion gets an ethically negative meaning: for, so Lacan argues, when we put ourselves as subject at the position of that Thing, we act like a pervert, and abuse the ethical rule for immoral purposes. The article follows in detail thisshift in Lacan's theory and discusses its important impact on his thesis on ethics. (shrink)

Alain Badiou’s philosophy is an attempt to re-establish truth in modern thought. The main – and indeed sole – criterion for truth is universality, he argues in all of his works, including the one on Saint Paul on which this essay focuses. In this book, Badiou argues that most of Saint Paul’s doctrinal topics can be related to the main concerns of his own thought. Thus Paul’s belief in Christ’s resurrection illustrates his own theory of the ‘event’; Paul’s characterization of (...) the church is linked with his own theory of the subject; and, finally, Paul’s entire intervention can be seen as one of the first affirmations in history of truth’s main criterion: universality. This article demonstrates how an unarticulated assumption secretly sustains Badiou’s entire theoretical framework: his belief in universal truth is supported by a belief in being’s inherent goodness. Badiou’s ‘ontology’ thus appears not so exclusively formal as he claims. Through a confrontation between Badiou’s interpretation of Paul and a reading of chapter eleven in Paul’s Letter to the Romans, the essay shows how the universality that Paul’s text claims contains an important element that Badiou’s reading – and his entire philosophy – neglects. This element involves a distorted dialectics that has resonances with both the Derridean concept of the ‘originary supplement’ and Lacan’s notion of ‘objet petit a’. The essay closes with some critical reflections on the way Badiou connects truth with time. (shrink)

The aim of this article is to examine how Ricœur’s critique of Husserl’s and Levinas’s notions of intersubjectivity informs his own alternative conceptualization of the intra- and interpersonal as a complex intertwining of moral selfhood and a just community. My first assumption is that law, as a prescriptive intervention in the social structure of our communal life, presupposes a phenomenology of our “being with others”. My second assumption is that Ricœur’s entire philosophical anthropology, and specifically his ideas on ethics, legality (...) and justice, can be read as a prolonged response to Husserl’s solipsistic deadlock in the famous Fifth Cartesian Meditation. Taken together these two assumptions connect Ricœur’s early analysis of phenomenology with his complex reconceptualization of moral selfhood in Oneself as Another, culminating in the ethical maxim of “a good life with and for others in just institutions.”. (shrink)

A comprehensive examination of Lacan’s seminar on ethics.

Visual art owes its modernity from the crisis it fell into in the midst of the nineteenth century. Courbet’s call for realism questioned the foundation of the art of his time. The incapacity of the series of ‘-isms’ that followed to answer Courbet’s call, pointed to a crisis not only in art, but in the then emerging non-artistic visual culture in general. In fact, Courbet’s call questioned the image paradigm that was in force since the Renaissance: the one of ‘representation’. (...) The crisis of art laid bare the crisis of the representation paradigm. Modern art’s complex relation to religion and spirituality must be understood in the context of this paradigm crisis. Although generally anti-religious, modern art often keeps on being fascinated by religion, spirituality, and mysticism. The ‘religious’, the ‘holy’, the ‘sanctity’ modern art is inclined to, is linked to the crisis it originates from. Does this reference to the religious and the spiritual, then, constitute the answer to that crisis? I defend the thesis that it rather affirms this very crisis. If there is something ‘holy’ in art, it is not the answer to which it makes people long, but it is art’s inherent crisis itself. If art has a ‘holy’ mission, it is to keep that crisis on the agenda of modernity. (shrink)