Journal Name: Semiotica Issue: Ahead of print.

What does it mean to spatialize food? Why combine such an analysis with law, or with signs and spaces? Leveraging Peircean-inspired legal semiotic theory, the spatialized nature of food will serve as a porthole through which a semiotic view of the spatial dimensions of legal experience can be discerned and elaborated. Specifically, case studies of the simultaneously material and immaterial aspects of food will support an analysis that seeks to open avenues of conceptualization regarding categories. The semiotic nature of (...) both food and law will drive a discussion of the “dis-composition” of categories. Though such an effort may appear overly scholarly and far from pragmatic, exactly the opposite claim will be made. Case studies such as that of the “Meatball Wars” will illustrate in plain terms how subject position struggles for space cannot be adequately addressed within traditional disciplinary boundaries. The essay will conclude with a demonstration of how a “discomposing” semiotic approach has the potential to serve as a means of enabling conflict resolution on a broader scale. The overall investigation is motivated by the struggle within academia – seen across the humanities – to rethink traditional foundational assumptions and dichotomies. The argument seeks to ground itself in the interconnectedness increasingly advanced, joining scholars who insist on the importance of anthro-historical context, local particulars, and the impossibility of assuming an objective position that can coolly observe phenomena from “outside.”. (shrink)

Some claim that Composition as Identity (CI) entails Mereological Essentialism (ME). If this is right, then we have an effective modus tollens against CI: ME is clearly false, so CI is, too. Rather than deny the conditional, I will argue that a CI theorist should embrace ME. I endorse a theory of modal parts such that ordinary objects are spatially, temporally, and modally extended. Accepting modal parts is certainly beneficial to CI theorists, but it also provides elegant solutions to (...) the traditional puzzles of constitution, making it a competitive move in its own right. (shrink)

When do several objects compose a further object? The last twenty years have seen a great deal of discussion of this question. According to the most popular view on the market, there is a physical object composed of your brain and Jeremy Bentham’s body. According to the second-most popular view on the market, there are no such objects as human brains or human bodies, and there are also no atoms, rocks, tables, or stars. And according to the third-ranked view, there (...) are human bodies, but still no brains, atoms, rocks, tables, or stars. Although it’s pleasant to have so many crazy-sounding views around, I think it would also be nice to have a commonsense option available. The aim of this paper is to offer such an option. The approach I offer begins by considering a mereological question other than the standard one that has been the focus of most discussions in the literature. I try to show that the road to mereological sanity begins with giving the most straightforward and commonsensical answer to this other question, and then extending that answer to further questions about the mereology of physical objects. On the approach I am recommending, it turns out that all of the mereological properties and relations of physical objects are determined by their spatial properties and relations. (shrink)

This article attempts to establish analogies between the recent introduction into architectural thought of notions such as the human body movement, events and scenarios, and the development of navigation and interaction principles and conventions in the computer world. The study of the human–computer interface contributes to an understanding of the major role of the computer screen as a point of convergence of different representational forms, and the emergence of new ones belonging to the digital culture. The compositional structure of interactive (...) multimedia works is on the one hand a visual, spatial composition and on the other a narrative and navigational structure. (shrink)

Following Wiggins’ seminal article, On Being in the Same Place at the Same Time, this article presents the first comprehensive account of the relation of material constitution, an asymmetrical, transitive relation which totally orders distinct ‘entities’ (individuals, pluralities or masses of stuff) which ‘spatially coincide.’ Their coincidence in space is explained by a recursive definition of ‘complete-composition’, weaker than strict mereological indiscernibility, which also explains the variety of logically independent similarities in such cases. This account is ‘analytical’, dealing with (...) ‘putative’ cases in general. The main strategy is to rationally reconstruct Aristotle’s notion of material cause. It is developed more fully with a theory of how to justify admitting generable and perishable things into the natural world, in The Kinds of Things: A Theory of Personal Identity Based on Transcendental Argument (Open Court, 1996). (shrink)

Although the notion of spatiality has always lurked in the background of discussions of literary form, the self-conscious use of the term as a critical concept is generally traced to Joseph Frank's seminal essay of 1945, "Spatial Form in Modern Literature."1 Frank's basic argument is that modernist literary works are "spatial" insofar as they replace history and narrative sequence with a sense of mythic simultaneity and disrupt the normal continuities of English prose with disjunctive syntactic arrangements. This argument (...) has been attacked on several fronts. An almost universal objection is that spatial form is a "mere metaphor" which has been given misplaced concreteness and that it denies the essentially temporal nature of literature. Some critics will concede that the metaphor contains a half-truth, but one which is likely to distract attention from more important features of the reading experience. The most polemical attacks have come from those who regard spatial form as an actual, but highly regrettable, characteristic of modern literature and who have linked it with antihistorical and even fascist ideologies.2 Advocates of Frank's position, on the other hand, have generally been content to extrapolate his premises rather than criticize them, and have compiled an ever-mounting list of modernist texts which can be seen, in some sense, as "antitemporal." The whole debate can best be advanced, in my view, not by some patchwork compromise among the conflicting claims but by a radical, even outrageous statement of the basic hypothesis in its most general form. I propose, therefore, that far from being a unique phenomenon of some modern literature, and far from being restricted to the features which Frank identifies in those works , spatial form is a crucial aspect of the experience and interpretation of literature in all ages and cultures. The burden of proof, in other words, is not on Frank to show that some works have spatial form but on his critics to provide an example of any work that does not. · 1. Frank's essay first appeared in Sewanee Review 53 and was revised in his The Widening Gyre . Frank's basic argument has not changed essentially even in his most avante-garde statements; he still regards spatial form "as a particular phenomenon of modern avante-garde writing." See "Spatial Form: An Answer to Critics," Critical Inquiry 4 : 231-52. A useful bibliography, "Space and Spatial Form in Narrative," is being complied by Jeffrey Smitten .· 2. This charge generally links the notion of spatial form with Wyndham Lewis and Ezra Pound, the imagist movement, the "irrationality" and pessimistic antihistoricism of modernism, and the conservative Romantic tradition. Frank discusses the complex motives behind these associations in the work of Robert Weimann and Frank Kermode in his "Answer to Critics," pp. 238-48. W. J. T. Mitchell, editor of Critical Inquiry, is the author of Blake's Composite Art, and The Last Dinosaur Book: The Life and Times of a Cultural Icon. The present essay is part of Iconology: The Image in Literature and the Visual Arts. "Diagrammatology" appeared in the Spring 1981 issue of Critical Inquiry. Leon Surette responds to the current essay in "‘Rational Form in Literature’". (shrink)

Block building is a popular play activity among young children and is also used by psychologists to assess their intelligence. However, little research has attempted to systematically explore the cognitive bases of block-building ability. The current study (N= 66 Chinese preschoolers, 32 boys and 34 girls; mean age = 4.7 years, SD = 0.29, range = 3.4 to 5.2 years) investigated the relationships between six measures of spatial skills (shape naming, shape recognition, shape composition, solid figure naming, cube (...) transformation, and mental rotation, with the former four representing form perception and the latter two representing visualization) and block-building complexity. Correlation results showed that three of the four measures of form perception (shape naming, shape recognition, and shape composition) were significantly and positively correlated with block-building complexity, whereas the two measures of visualization were not. Results from regression models indicated that shape recognition and shape composition, as well as shape-recognition-by-gender interaction, were unique predictors of children’s block-building complexity. These findings provide preliminary evidence for the basic spatial skills underlying children’s block-building complexity and have implications for classroom instructions aimed at improving preschoolers’ block-building complexity. (shrink)

Region R Question: How many objects — entities, things — are contained in R? Ignore the empty space. Our question might better be put, 'How many material objects does R contain?' Let's stipulate that A, B and C are metaphysical atoms: absolutely simple entities with no parts whatsoever besides themselves. So you don't have to worry about counting a particle's top half and bottom half as different objects. Perhaps they are 'point-particles', with no length, width or breadth. Perhaps they are (...) extended in space without possessing spatial parts (if that is possible). Never mind. We stipulate that A, B and C are perfectly simple. We also stipulate that they are connected as follows. A and B are stuck together in such a way that when a force is applied to one of them, they move together 'as a unit'. Moreover, the two of them together exhibit behavior that neither would exhibit on its own — Perhaps they emit a certain sound, or glow in the dark — whereas C is.. (shrink)

This study examined individual differences in spatial abilities of architecture students. Students at different educational levels were assessed on spatial ability tests that varied in their domain-specificity to architecture, with the hypothesis that larger differences between beginner and advanced students will emerge on more domain-specific tests. We also investigated gender differences in test performance and controlled for general reasoning ability across analyses. In a cross sectional study, master students (N= 91) outperformed beginners (N= 502) on two novel tests (...) involving perspective taking and object composition, as well as on a standardized visualization of cross-sections test, but not on a standardized mental rotations test. Longitudinally (N= 117), spatial performance improved after the first bachelor year on visualization of cross-sections, object composition and mental rotation. Although both genders showed higher spatial test performance with increased experience, male students outperformed females across tests and levels of education. The results overall confirmed improvements in spatial performance during architecture studies, with partial support for the domain-specificity hypothesis. A gender gap among advanced students calls for further examining architecture-specific spatial thinking. (shrink)

Substratism and Replacementism are the two major contending accounts of intrinsic change. This chapter discusses the interaction between composition and persistence, as the persistence of composite objects provides a critical test case for evaluating these two accounts. The chapter covers important puzzles and paradoxes for those who believe that mereological inconstancy and mereological coincidence are possible. There are actually two somewhat different conceptions of coincidence. One involves the sharing of a time‐slice or instantaneous temporal part. This is Temporal Coincidence. (...) A second kind of coincidence involves having exactly the same parts (whether spatially or temporally extended or both) at the same time. On some views, Temporal Coincidence and Temporary Mereological Coincidence are exactly the same things. The most compelling case of temporary mereological coincidence is that of composite things and their matter. (shrink)

The spatial composition of human portraits obeys historically changing cultural norms. We show that it is also affected by cognitive factors that cause greater spontaneous attention to what is in front rather in the back of an agent. Scenes with more space in front of a directed object are both more often produced and judged as more aesthetically pleasant. This leads to the prediction that, in profile‐oriented human portraits, compositions with more space in front of depicted agents (a (...) “forward bias”) should be over‐represented. By analyzing a large dataset (total N of 1,831 paintings by 582 unique identified European painters from the 15th to the 20th century), we found evidence of this forward bias: Painters tended to put more free space in front of, rather than behind, the sitters. Additionally, we found evidence that this forward bias became stronger when cultural norms of spatial composition favoring centering became less stringent. (shrink)

As stated above, the process of the regionalization of Confucianism was symbolically raising the banner of unofficial Confucian schools in a regionally dispersed situation. This resulted in a refreshing contrast to the unified characteristics of Han Confucianism. The consolidation of a position of united imperial authority during the Han had led to Confucian discourse becoming official ideology, with wandering Confucians being absorbed into the political center of gravity, and the use of a single authority to solve any given question. An (...) examination of this process from the viewpoint of spatial and geographical distribution, demonstrates that the process of transmission was from a "wider area" to a "single place" . During the Han the cultural focus was concentrated in northern regions such as Qi, Lu, Liang [this is the state Wei—Ed.], and Song. Their locations were mutually overlapping with the political centers of gravity. At the same time, the cultural focus was invariably in the regions where Confucian activities were most concentrated. This was coterminous with the territorial limitations of the domination of the Han. A question emerges therefrom: with the post-Han south-north cultural migration, did the mutual interaction between the political and cultural centers have a defining influence on the spatial composition of the stratum of Confucian scholars? (shrink)

In his latest book, Realistic Rationalism (Cambridge, MA: MIT Press, 1998), Jerrold J. Katz proposes an ontology designed to handle putative counterexamples to the traditional abstract/concrete distinction. Objects like the equator and impure sets, which appear to have both abstract and concrete components, are problematic for classical Platonism, whose exclusive categories of objects with spatiotemporal location and objects lacking spatial or temporal location leave no room for them. Katz proposes to add a “composite” category to Plato’s dualistic ontology, which (...) is supposed to include all those objects with both abstract and concrete components.But every concrete object stands in an indefinite number of relations to abstract ones. Thus, Katz must offer principled criteria describing just those relations that produce a composite object, lest all concrete objects turn out to be composite. The trouble that he has in specifying such a “creative” relationship results from his clinging to the traditional definitions of “abstract” and “concrete.” The substance dualism that results renders the articulation of any relations between abstract and concrete difficult, and a category such as Katz’s “composite objects” impossible. (shrink)

Region R Question: How many objects — entities, things — are contained in R? Ignore the empty space. Our question might better be put, 'How many material objects does R contain?' Let's stipulate that A, B and C are metaphysical atoms: absolutely simple entities with no parts whatsoever besides themselves. So you don't have to worry about counting a particle's top half and bottom half as different objects. Perhaps they are 'point-particles', with no length, width or breadth. Perhaps they are (...) extended in space without possessing spatial parts (if that is possible). Never mind. We stipulate that A, B and C are perfectly simple. We also stipulate that they are connected as follows. A and B are stuck together in such a way that when a force is applied to one of them, they move together 'as a unit'. Moreover, the two of them together exhibit behavior that neither would exhibit on its own — Perhaps they emit a certain sound, or glow in the dark — whereas C is.. (shrink)

In this paper I discuss some metaphysical consequences of an unorthodox approach to the problem of the identity and individuality of “indistinguishable” quantum particles. This approach is based on the assumption that the only admissible way of individuating separate components of a given system is with the help of the permutation-invariant qualitative properties of the total system. Such a method of individuation, when applied to fermionic compositions occupying so-called GMW-nonentangled states, yields highly implausible consequences regarding the number of distinct components (...) of a given composite system. I specify the problem in detail, and I consider several strategies of solving it. The preferred solution of the problem is based on the premise that spatial location should play a privileged role in identifying and making reference to quantum-mechanical systems. (shrink)

Ideas developed within the philosophical tradition of phenomenology can be used to describe the experience of talking on the phone. In particular, I build on a contemporary brand of phenomenology called “postphenomenology,” a school of thought which specializes in the analysis of the relationships that form between users and technologies. Three central concepts are reviewed and developed: transparency, sedimentation, and what I call “field composition.” These concepts can be used for the description of the way that the content of (...) a telephone conversation can come to stand forward and capture a user’s overall field of awareness. I suggest that this account of the experience of the telephone can be useful for analyzing issues in scientific research and public policy regarding the topic of using the phone while driving. (shrink)

One of the primary burdens of the mereological nihilist is accounting for our ordinary intuitions about material objects. It certainly *seems* as if I am typing on a keyboard, which has particular keys and buttons as parts. But such intuitions are mistaken if mereological nihilism is right, leading to widespread error. So nihilists often propose paraphrases of our everyday utterances as compensation. Cotnoir aims to deliver a new paraphrase strategy on behalf of the nihilist: one that interprets parthood and (...) class='Hi'>composition modally, and interprets (spatial) parts as (modal) counterparts. He advertises this view as the spatial analog of Sider’s stage-theoretic view. Unfortunately, I argue, it isn't. The spatial analog to the above views would be something like the following: individuals are region-bound spatial bits. Certain spatial claims about these objects may be true if the relevant spatial bits have the appropriate spatial counterparts. The table is flat iff the table (a spatial bit) has a spatial counterpart that is flat. That is, spatial *counterparts* make certain spatial claims true. Call this the *bit-theoretic* view. In this paper, I use the bit-theoretic view as a foil for highlighting certain aspects of Cotnoir’s proposal, as well as to show that the very ways in which Cotnoir’s view differs from the bit-theoretic view are ways in which it undermines advantages of nihilism. (shrink)

The Song of Songs, a lyric cycle of love scenes without a narrative plot, has often been considered as the Bible’s most beautiful and enigmatic book. The present study questions the still dominant exegetical convention that merges all of the Song’s voices into the dialogue of a single couple, its composite heroine Shulamit being a projection screen for norms of womanhood. An alternative socio-spatial reading, starting with the Hebrew text’s strophic patterns and its references to historical realia, explores the (...) poem’s artful alternation between courtly, urban, rural, and pastoral scenes with their distinct characters. The literary construction of social difference juxtaposes class-specific patterns of consumption, mobility, emotion, power structures, and gender relations. This new image of the cycle as a detailed poetic frieze of ancient society eventually leads to a precise hypothesis concerning its literary and religious context in the Hellenistic age, as well as its geographical origins in the multiethnic borderland east of the Jordan. In a Jewish echo of anthropological skepticism, the poem emphasizes the plurality and relativity of the human condition while praising the communicative powers of pleasure, fantasy, and multifarious Eros. (shrink)

On the fictional level, La Route des Flandres deploys a world in the process of complete disintegration. The manifestly privileged situation is the debacle of the French army in 1940 in which a number of the novel's protagonists are involved: George, the narrator; his cousin, Captain de Reixach; Iglésia, previously the Captain's jockey, now his orderly; Blum, Wack, and their horses. The havoc wrought by the military debacle can be subdivided into five categories. With the dissociation and decimation of the (...) army . . . and the disintegration of the discipline which had consolidated it . . . an entire military order is in the course of demolition. The breakdown of the military organization is accompanied by a parallel dissolution of the social order. Scattered along the roads, the civilians have lost their essential function, their trade. And, in an incident which occurs in front of the captain, when a peasant threatens the deputy mayor with his hunting rifle, we detect a direct reversal of the civic order. In the mechanical order, the all but dismembered automobiles . . . and the dismantlement of their motors contribute to the general tide of dilapidation and decay. The spatial order, represented here by the traditional military space, endowed with significance and hierarchically divided into front and rear, becomes depolarized with the disappearance of the battle lines and the inextricable entanglement of the two armies . . . The temporal order, the chronological arrangement of events, is subject to a similar vitiation. Jean Ricardou is equally well known for his fiction, including L'Observatoire de Cannes , La Prise de Constantinople , Les Lieux-dits , and his criticism, including Problèmes du Nouveau Roman , Pour une Theorie du Nouveau Roman , and Le Nouveau Roman ."ARTISTS ON ART: Birth of a Fiction" appeared in the Winter 1977 issue of Critical Inquiry. Erica Freiberg regularly translates Jean Ricardou's works. She holds degrees in French and Italian, philosophy and modern literature from the University of Paris and the University of Geneva. (shrink)

Newton ’s laws of motion imply that any plurality of particles whatsoever considered as a whole obeys Newton ’s laws. Nevertheless, I define a Newtonian composite object as an object for the purposes of Newtonian mechanics in which the atoms act in casual dependence on one another in such a way that the whole is structurally stable in many interactions. An elastic solid object is a type of a Newtonian composite object in which each atom is in stable spatial (...) equilibrium relative to the others — it can only move slightly relative to its position in the lattice of inter-atomic spatial relations. It is easy to generalize the notion of Newtonian composite object and define a general composite object. (shrink)

On the fictional level, La Route des Flandres deploys a world in the process of complete disintegration. The manifestly privileged situation is the debacle of the French army in 1940 in which a number of the novel's protagonists are involved: George, the narrator; his cousin, Captain de Reixach; Iglésia, previously the Captain's jockey, now his orderly; Blum, Wack, and their horses. The havoc wrought by the military debacle can be subdivided into five categories. With the dissociation and decimation of the (...) army... and the disintegration of the discipline which had consolidated it... an entire military order is in the course of demolition. The breakdown of the military organization is accompanied by a parallel dissolution of the social order. Scattered along the roads, the civilians have lost their essential function, their trade. And, in an incident which occurs in front of the captain, when a peasant threatens the deputy mayor with his hunting rifle, we detect a direct reversal of the civic order. In the mechanical order, the all but dismembered automobiles... and the dismantlement of their motors contribute to the general tide of dilapidation and decay. The spatial order, represented here by the traditional military space, endowed with significance and hierarchically divided into front and rear, becomes depolarized with the disappearance of the battle lines and the inextricable entanglement of the two armies... The temporal order, the chronological arrangement of events, is subject to a similar vitiation. Jean Ricardou is equally well known for his fiction, including L'Observatoire de Cannes, La Prise de Constantinople, Les Lieux-dits, and his criticism, including Problèmes du Nouveau Roman, Pour une Theorie du Nouveau Roman, and Le Nouveau Roman."ARTISTS ON ART: Birth of a Fiction" appeared in the Winter 1977 issue of Critical Inquiry. Erica Freiberg regularly translates Jean Ricardou's works. She holds degrees in French and Italian, philosophy and modern literature from the University of Paris and the University of Geneva. (shrink)

Constructing an all-directional, multilevel, and composite interconnection network, accelerating the free flow of producer services elements across regions, and further improving the efficiency of resource integration demand to conduct a comprehensive and systematic analysis of producer services trade. Thus, using bilateral trade data, this paper builds producer services trade network composed of 61 major countries and innovatively combines the methods of social network and economic geography to explore its spatiotemporal evolution and system properties. The results show that, firstly, the producer (...) services trade network has spatial heterogeneity, which is characterized by high-value agglomerations in Western Europe and East Asia, and low-value agglomerations in Southern Europe and Southeast Asia. Secondly, most countries tend to choose trading partners with close geographical locations or common cultures to establish a cohesive subgroup. Thirdly, the producer services trade network has a significant core-periphery structure, the “spaghetti bowl” effect, which leads to a downward trend in the number of core and semi-peripheral countries. Finally, the trade agreement relations, language relations, and differences in economy, geography, institution, and technology all have a significant impact on the evolution of producer services trade network, but this change has little relationship with the population size divergences of different countries. (shrink)

Newton’s laws of motion imply that any plurality of particles whatsoever considered as a whole obeys Newton’s laws. Nevertheless, I define a Newtonian composite object as an object for the purposes of Newtonian mechanics in which the atoms act in casual dependence on one another in such a way that the whole is structurally stable in many interactions. An elastic solid object is a type of a Newtonian composite object in which each atom is in stable spatial equilibrium relative (...) to the others — it can only move slightly relative to its position in the lattice of inter-atomic spatial relations. It is easy to generalize the notion of Newtonian composite object and define a general composite object. (shrink)

Changing and often class-dependent non-stationarities of signals are a big challenge in the transfer of common findings in cognitive workload estimation using Electroencephalography (EEG) from laboratory experiments to realistic scenarios or other experiments. Additionally, it often remains an open question whether actual cognitive workload reflected by brain signals was the main contribution to the estimation or discriminative and class-dependent muscle and eye activity, which can be secondary effects of changing workload levels. Within this study, we investigated a novel approach to (...) spatial filtering based on beamforming adapted to changing settings. We compare it to no spatial filtering and Common Spatial Patterns (CSP). We used a realistic maneuvering task, as well as an auditoryn-backsecondary task on a tugboat simulator as two different conditions to induce workload changes on professional tugboat captains. Apart from the typical within condition classification, we investigated the ability of the different classification methods to transfer between then-backcondition and the maneuvering task. The results show a clear advantage of the proposed approach over the others in the challenging transfer setting. While no filtering leads to lowest within-condition normalized classification loss on average in two scenarios (22 and 10%), our approach using adaptive beamforming (30 and 18%) performs comparably to CSP (33 and 15%). Importantly, in the transfer from one to another setting, no filtering and CSP lead to performance around chance level (45 to 53%), while our approach in contrast is the only one capable of classifying in all other scenarios (34 and 35%) with a significant difference from chance level. The changing signal composition over the scenarios leads to a need to adapt the spatial filtering in order to be transferable. With our approach, the transfer is successful due to filtering being optimized for the extraction of neural components and additional investigation of their scalp patterns revealed mainly neural origin. Interesting findings are that rather the patterns slightly change between conditions. We conclude that the approaches with low normalized loss depend on eye and muscle activity which is successful for classification within conditions, but fail in the classifier transfer since eye and muscle contributions are highly condition-specific. (shrink)

We propose in this paper to construct modal logics based on mathematical morphology. The contribution of this paper is twofold. First we show that mathematical morphology can be used to define modal operators in the context of normal modal logics. We propose definitions of modal operators as algebraic dilations and erosions, based on the notion of adjunction. We detail the particular case of morphological dilations and erosions, and of there compositions, as opening and closing. An extension to the fuzzy case (...) is also proposed. Then we show how this can be interpreted for spatial reasoning by using qualitative symbolic representations of spatial relationships (topological and metric ones) derived from mathematical morphology. This allows to establish some links between numerical and symbolic representations of spatial knowledge. (shrink)

The origin and evolutionary dynamics of the spatial heterogeneity in genomic base composition have been debated since its discovery in the 1970s. With the recent availability of numerous genome sequences from a wide range of species it has been possible to address this question from a comparative perspective, and similarities and differences in base composition between groups of organisms are becoming evident. Ample evidence suggests that the contrasting dynamics of base composition are driven by GC‐biased gene (...) conversion (gBGC), a process that is associated with meiotic recombination. In line with this hypothesis, base composition is associated with the rate of recombination and the evolutionary dynamics of the recombination landscape, therefore, governs base composition. In addition, and at first sight perhaps surprisingly, the relationship between demography and genomic base composition is in agreement with the gBGC hypothesis: organisms with larger populations have higher GC content than those with smaller populations. (shrink)

Many metaphysicians accept the view that, necessarily, any collection of things composes some further thing. Necessarily, my arms, legs, head, and torso compose my body; necessarily, my arms, my heart, and the table compose something y; necessarily, my heart and the sun compose something z; and so on. 1 Though there have been a few recent attempts to argue against the necessity of this principle of unrestricted composition the consensus is that if it is true, it is necessarily true. (...) 2In what follows I will join the few dissenters and argue that this principle of unrestricted composition is not necessarily true. If I am right, it follows that either some principle of restricted composition is necessarily true or the existence of composite objects is a contingent matter. I will end by indicating why the latter option seems the most plausible. 3I proceed by reductio. Assume the following: Unrestricted composition is necessarily true.That is, assume that necessarily, any collection of things composes something. Then, necessarily, the collection of everything composes something. That is, necessarily, there exists a universal object U having all things as parts, not itself being a proper part of anything. Hence, by our assumption, we get: There must be a universal object U.It is important to note that this is so whether the world is finite or infinite. Holding that in worlds of finite cardinality there is a universal object U while in worlds of infinite cardinality there is no universal object U amounts to accepting a restricted form of composition. 4Now consider the following scenario. Everything in this world is spatially extended and just one half of something else that is also spatially extended. That is, for any thing in this world, there is something else of which …. (shrink)

Situated in the larger collection of Psalms 51-72, also known as the second Davidic Psalter, the smaller group of Psalms 65-68 is found. This smaller collection of psalms can be classified mostly as psalms of praise and thanksgiving. The relation and compositional work in this cluster of psalms become apparent on many points in the pious expressions between groups and persons at prayer, especially in the universal praise of God, and in the imagery referring to the exodus, the Jerusalem cult (...) and blessing. Such piety becomes most discernible in the imagery and expressions in Psalm 66. The psalm's two main sections may be described as praise, with verses 1-12 being praise by the group or the 'we', and verses 13-20 being praise by the individual or the 'I'. Personal or individual piety and private piety are expressed by the desire of the 'we' and the 'I', and the experienced immediacy to God by transposing the past into the present through the memory of the exodus narrative, the Jerusalem cultic imagery and the use of body imagery. In this research article, an understanding of piety in Psalm 66 in terms of the memory of past events and body imagery is discussed from a perspective of space and appropriated for a time of pandemic where normal or traditional ecclesiological formal practices cannot take place. CONTRIBUTION: This article makes an interdisciplinary contribution based on knowledge from the Psalms in the Old Testament, social anthropology, literary spatial theories and practical theological perspectives on the church in order to contribute to the relevance and practice of theology today, during a time of turmoil and a global pandemic. (shrink)

This paper investigates Hume's theory of the perception of spatial magnitude or size as developed in the _Treatise<D>, as well as its relation to his concepts of space and geometry. The central focus of the discussion is Hume's espousal of the 'composite' hypothesis, which holds that perceptions of spatial magnitude are composed of indivisible sensible points, such that the total magnitude of a visible figure is a derived by-product of its component parts. Overall, it will be argued that (...) a straightforward reading of this hypothesis fails to do full justice to the complexity of Hume's theory of spatial perception and geometry, and that a more adequate treatment must also admit an important role for the more direct process of spatial magnitude perception which he dubs 'intuition'. (shrink)

The course will give a concise introduction to compositional modeltheoretic semantics in the Montague tradition, with ample discussion and motivation coming from recent research. Concentrating on the underlying methodological principles, I will aim to attract students' attention to the beauty and scientific value of the description of intricate semantic phenomena using elegant and rigorously-defined mathematical techniques. The course is intended for students who don't necessarily have any prior knowledge in logic or linguistics, but have some basic mathematical or general scientific (...) background. The foundational concepts and techniques that will be covered include: entailment as a rich empirical domain, ambiguity, compositionality, direct modeltheoretic interpretation, types and model structure, boolean operators and generalized quantifiers. Motivations and examples will draw on recent research of coordination, quantifier scope and intensionality. Further remarks about diverse problems involving plurality, spatial expressions, conceptual semantics and pragmatics will be made as time permits. (shrink)

Translations across symbolic forms necessarily involve shifts and transformations of meaning due to the logic of the medium. They challenge us to examine fundamental metaphors as an aspect of design reasoning, particularly in relation to the construction of spatial relationships and meanings. They also involve the exploration of diagrams as a way of moving from the space of linguistic description to architectural space where topology and visual image are tightly interfaced. In this paper, Terragni's unrealized design for a monument (...) to Dante, which projects The Divine Comedy into an architectural schema is examined as a case study. The Divine Comedy is treated as an expanded body of work that includes, in addition to the original text, a multitude of paintings, as well as Terragni's project. The paper draws a distinction between transformations of meaning that arise of necessity due to the internal logic of symbolic forms and transformations which manifest specific design intentions. The Divine Comedy with its compositional, numerological, and descriptive attributes forms the program for the architectural project. Nevertheless, as in any project, the program does not, in itself, generate architecture. This paper shows that in the Danteum project three major operations are involved in design synthesis. The first inflects the familiar metaphor of the column as a body. The second uses recursive 'extreme to mean ratio' proportions to establish nesting, repetition and scaling, and through these a sense of unity. The third uses a pattern of overlapping squares so as to create a dialogue between strongly differentiated interiors and transitional zones. These operations in conjunction with the compositional and narrative aspects of the poem interpreted as program make the translation from linguistic space to architectural space possible. Thus, in this case, design formulation is not based on a single metaphor, but rather on a system of metaphors working together to bring physical elements, spatial relationships and design operations within a coherent framework of design reasoning. (shrink)

Coastlines play an important role in human activity and economic development. Reasonably allocating shoreline resources and addressing contradictions between ecological protection and development are critical issues. In this study, positive and negative factors affecting the natural, environmental, and socioeconomic status of the coastal zone while considering land and sea effects were comprehensively analyzed using ecological theories and methods, and an improved restrictive composite index model was constructed. We quantitatively analyzed the comprehensive utilization pattern of the Bohai Rim coastline, China, in (...) terms of the coastline utilization type and spatial agglomeration characteristics. The comprehensive utilization pattern of the Bohai Rim coastline is as follows: ecological areas are present in the north and south, and industrial areas are present in the east and west. Industrial production areas along the coastline are mainly distributed in the East Liaodong and Bohai bays, and ecological protection areas are located in the estuaries of the Liaohe and Yellow River. The improved restricted comprehensive index method model weakens the interaction among variables and makes the calculation results closer to the real situation. The results of the comprehensive utilization pattern of Bohai Rim coastline obtained by quantitative evaluation are of great significance for the coordinated development of coastline ecological protection and development and utilization. (shrink)

Franklin and Seifert (2021) argue that solving the measurement problem of quantum mechanics (QM) also answers a question central to the philosophy of chemistry: that of how to reconcile QM with the existence of definite molecular structures. This conclusion may appear premature, however, because interactions play a crucial role in shaping molecules, but we generally lack detailed models of how this is accomplished. Given this explanatory gap, simply choosing an interpretation of QM is insufficient, unless the interpretation also has relevant (...) conceptual resources that address how spatially organized molecules are composed. This article seeks to close the gap, using the interpretation provided by relational quantum mechanics (RQM), along with a posited causal ontology. This framework, which entails the co-existence of multiple perspectives on systems within a single world, offers a path toward reconciling the quantum mechanical view of molecules with another conception more congenial to chemistry: that of molecules shaped by patterns of localizing interactions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Atoms, Gunk, and God:Natural Theology and the Debate over the Fundamental Composition of MatterTravis DumsdayLET US SAY we take a rock and divide it in two. We then divide each of the halves again. We repeat. We keep repeating, over and over and over again, until we have reached down to the level of molecules and then to atoms and then to subatomic particles and beyond. What, eventually, (...) will we end up with? (A) Do we eventually reach “rock bottom,” a layer of fundamental objects that can be divided no further? Or (B) could the dividing process be carried on forever?Let us take (A), the idea that there are fundamental, indivisible objects. We may call these “atoms,” and the theory that affirms their existence atomism. (I use the label for historical reasons; the “atoms” discussed in the history of metaphysics are of course not equivalent to the atoms of contemporary physics, which are divisible into constituent subatomic particles.) What must be the nature of these objects? Here we can identify two distinct versions of atomism.According to the first, these entities cannot be spatially extended, since extension entails divisibility. After all, if something has discernible length, then its conceptually distinguishable left and right halves, for instance, could be separated from each other, at least in theory. The existence of the matter constituting the left half seems not to entail the existence of the matter constituting the right half or vice versa, so one could persist without the other (e.g., the left half could be annihilated while the right half continues in existence), and [End Page 227] could be divided from the other. Whether they could actually be separated by us, using current or future technology, is of course an entirely different question from the philosophically significant issue of divisibility in principle. Atoms are, on this view, extensionless “point particles” with no actual or potential proper parts. This may be called atomism version 1.According to the second version of atomism, these indivisible objects are nevertheless spatially extended. The reality of atoms is affirmed, but the relation obtaining between extension and divisibility, which is supposedly entailed, is rejected. Despite being spatially extended, these particles cannot possibly be divided. Consequently, although they are spatially extended, they do not possess actual proper parts in the sense that “proper part” is typically understood (i.e., as involving smaller constituent objects, which could in theory exist apart from the whole). The claim is not merely that they cannot be divided by us using current or future technology, nor that their division would be inconsistent with contingent physical laws. The impossibility referenced here is not mere physical impossibility. Rather, the claim is that it is metaphysically impossible (and logically impossible, for those who equate metaphysical and logical impossibility) for them to be divided. There is no possible world in which these entities are in any way divided, either by splitting in two or by destroying one section while leaving the rest intact. This may be called atomism version 2.Atomism’s major competitors may be grouped under the affirmation of (B), according to which division could go on forever. Matter is infinitely divisible. But what does infinite divisibility imply? Here there is a further divergence of views. One camp affirms the gunky view of matter. On this view, a material object is infinitely divisible because it is composed of an actual infinity of proper parts: any material object is composed of smaller proper parts that are themselves real objects composed of smaller proper parts that are themselves real objects composed of smaller proper parts, and so on, ad infinitum. Another camp denies the reality of actual infinities (at least in the material realm), and affirms instead the reality of extended simples. On this view matter is infinitely divisible, as [End Page 228] on the gunky view, but not because material objects are composed of an actual infinity of smaller objects. Instead, material nature bottoms out (in a sense) at objects that are spatially extended and potentially subject to division, but that lack actual proper parts. They are not composed of real, smaller objects. Rather, what makes it true that the object... (shrink)

This paper defends two theses about sensory objects. The more general thesis is that directly sensed objects are those delivered by sub-personal processes. It is shown how this thesis runs counter to perceptual atomism, the view that wholes are always sensed indirectly, through their parts. The more specific thesis is that while the direct objects of audition are all composed of sounds, these direct objects are not all sounds—here, a composite auditory object is a temporal sequence of sounds (whereas a (...) composite visual object is a spatial composite). Many composite objects are directly heard in the sense just mentioned. There is a great variety of such composite auditory objects—melodies, harmonies, sequences of phonemes, individual voices, meaning-carrying sounds, and so on. This diversity of auditory objects has an important application to aesthetics. Perceivers do not naturally or easily attend simultaneously to auditory objects that overlap in time. Yet, aesthetic appreciation depends on such an allocation of attention to overlapping objects. (shrink)

Abstract:This article correlates the physical composition of the built environment with social interactions and human relationships. The resulting framework draws on an embodied cognitive position through interdisciplinary knowledge with priority given to architectural theory and cognitive linguistics. This approach does not address idiosyncratic, phenomenological descriptions of experiences of place but the potential relationship of human bodies through situated semantics suggested by spatial composition. In this article we ask how the physical arrangement of a space can provide information (...) for analyzing the probable social relations such as positions of hierarchy, power, and authority. We identify two theoretical models, namely latent embodied cognitive operations and space as a situated concept, which can be used to correlate physical arrangements with social meaning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Form and Discontent*Rosmarie Waldrop (bio)1. Composition as ExplanationIn the beginning there is Gertrude Stein, who says in “Composition as Explanation”: “Everything is the same except composition and as the composition is different and always going to be different everything is not the same” [520].I could also say, in the beginning is Aristotle: “the fable is simply this, the combination of the incidents” [1460].2. A Look (...) AroundThe forms that have been striking me as “wild” have tended to be Steinian in this sense of stressing the horizontal, the axis of composition. I’m most struck by 3 tendencies: one is literally spatial composition, e.g. Susan Howe’s work; another, an emphasis on discontinuity, leaps on the level of syntax, of logic, of grammar. Breaks that do not immediately fold back into a smooth unity and may occur in mid-sentence:I was on my way from Carthage, it was night. It is not wax I am scorching was dead about her with knots.—Norma Cole, MarsI hide behind a category by misbehaving.—Carla Harryman, Under the BridgeLoop conceived in a line, the spine with its regions, reasons. On another, sweaters hang by the wrist to dry. The list is sweet. You lie. The eye is met by the season.—Ron Silliman, ParadiseYou took my temperature which I had meant to save for a more difficult day.—Rosmarie Waldrop, The Reproduction of ProfilesWent out so I’d take the car and a whole system of banking and money is based on a hierarchy.—Leslie Scalapino, Considering How Exaggerated the Music IsROAST POTATOESRoast Potatoes for.—Gertrude Stein, “Tender Buttons”Or, a subtler example, Mei-mei Berssenbrugge’s almost unnoticeable shifts from one grammatical structure into another: [End Page 54]Never mind if he calls, the places you get through inwardness take time, and to drift down to the shore of the island, you know by the sand moving, even the coarse sand here It’s hard to say if you can even stand up, there....[13]The third tendency is mathematical. There is a lot of counting. Not stresses, not even syllables—I’m not considering that most unimaginative bunch, the new formalists—but words per line, sentences per paragraph. You all know about Ron Silliman’s love for the Fibonacci number series, or Lyn Hejinian’s My Life, which began with 37 sections of 37 sentences each. When she published a second edition at age 45, she added 8 sentences to each section plus 8 new sections.Jacques Roubaud: “No ideas but in numbers” [291].Then, in a somewhat more remote way, a number of people use ideas of permutation. For example, Jackson Mac Low’s 4 Trains, of which I will quote the first two stanzas:Train rule atom intricate nitrogen. Rule unusual leotard entropy. Atom train ostrich might. Intricate nitrogen train rule intricate casual atom train entropy. Nitrogen intricate train rule ostrich genealogy entropy nitrogen.Rule unusual leotard entropy. Unusual nitrogen unusual social unusual atom leotard. Leotard entropy ostrich train atom rule dies. Entropy nitrogen train rule ostrich pope yearly.[7]As Zukofsky puts it: “[Thus] poetry may be defined as an order of words that as movement and tone (rhythm and pitch) approaches in varying degrees the wordless art of music as a kind of mathematical limit” [27].All these examples draw attention to arrangement, composition. They all listen to language. I once wrote:I don’t even have thoughts, I say, I have methods that make language think, take over and me by the hand. Into sense or offense, syntax stretched across rules, relations of force, fluid the dip of the plumb line, the pull of eyes.... No beginnings. All unrepentant middle.[A Form / of Taking / It All 74]And none of these forms are “organic form.” None relies primarily on metaphor, though from the Romantics on poetry has been more or less identified with it.3. Frameworka. HistoricalLet me step back for a moment to the beginnings of the concept of organic form, what it reacted against.When Goethe started to make a splash writing free verse, around 1770, the dominant aesthetic... (shrink)

Noun phrases with overt determiners, such as <i>some apples</i> or <i>a quantity of milk</i>, differ from bare noun phrases like <i>apples</i> or <i>milk</i> in their contribution to aspectual composition. While this has been attributed to syntactic or algebraic properties of these noun phrases, such accounts have explanatory shortcomings. We suggest instead that the relevant property that distinguishes between the two classes of noun phrases derives from two modes of existential quantification, one of which holds the values of a variable (...) fixed throughout a quantificational context while the other allows them to vary. Inspired by Dynamic Plural Logic and Dependence Logic, we propose Plural Predicate Logic as an extension of Predicate Logic to formalize this difference. We suggest that temporal <i>for</i>-adverbials are sensitive to aspect because of the way they manipulate quantificational contexts, and that analogous manipulations occur with spatial <i>for</i>-adverbials, habituals, and the quantifier <i>all</i>. (shrink)

Among medieval Aristotelians, William of Ockham defends a minimalist account of artifacts, assigning to statues and houses and beds a unity that is merely spatial or locational rather than metaphysical. Thus, in contrast to his predecessors, Thomas Aquinas and Duns Scotus, he denies that artifacts become such by means of an advening ‘artificial form’ or ‘form of the whole’ or any change that might tempt us to say that we are dealing with a new thing (res). Rather, he understands (...) artifacts as per accidens composites of parts that differ, but not so much that only divine power could unite them, as in the matter and form of a proper substance. For Ockham, artifacts are essentially rearrangements, via human agency, of already existing things, like the clay shaped by a sculptor into a statue or the stick and bristles and string one might fashion into a broom. Ockham does not think that a new thing is thereby created, although his emphasis on the contribution of human artisans seems to leave questions about the ontological status of their agency open. In any case, there are no such things as natural statues, any more than substances created by human artifice. (shrink)

Pixelism is the combination of three metaphysical thesis, namely a radical form of exdurantism, mereological nihilism and counterpart theory. Pixelism is a theory that evaluates all the metaphysical phenomena of persistence, composition and modality in a homogeneous and consistent manner. In a pixel world, there is no identity over time and over possible worlds and nothing persists over more than an instant or a world. Entities can be univocally identified by a five-coordinates system (the three spatial dimensions, the (...) temporal one and the possible worlds), and their relation is a counterpart relation both in different worlds and at different times or different regions of space. In this paper I will provide two models for pixelism: the first one takes pixels to be hypercubes, i. e. four-dimensional cubes, the acceptance of which is conditional on the acceptance of extended simples. The second one considers pixels as points in a four-dimensional space. (shrink)

Arguing that the universe is absolutely directioned and that there exist spatial (directional) relations that Leibniz overlooked, H. Scott Hestevold formulates a new relationalist theory of space, exploring its implications for the Special Composition Question, reductivism regarding boundaries and holes, and the nature of spacetime.

This paper solves the special composition question for solid objects and discusses the properties of wholes in relation to the properties of their parts, including emergent properties. By considering the causal properties of solid objects, this paper argues that it is possible for objects that are undoubtedly ontological units (called atoms) to combine to form a whole that is also an ontological unit of the same standing. It begins by considering the various different kinds of property that a whole (...) object could possess and the ways in which those properties could be related to the properties of its atoms, where some of the properties of the whole could be called emergent properties. There are properties of the whole that are determinate relative to the properties of the atoms, where the atoms’ possessing certain properties, being arranged spatially in a certain way, and with certain forces connecting them determine the instantiation of a specific property of the whole. There are also properties of the whole that are merely determinate as to kind, where the properties of the atoms merely determine that some property belonging to a certain kind will be instantiated. Further distinctions are made between properties of the whole that cannot be possessed by the atoms and properties of the whole that can. These distinctions are illustrated by a few physical examples. A number of different arguments are then given to show that a whole object composed of atoms possesses monadic properties of its own that are causally significant. Next a “real boundary condition for solid objects” is proposed, where the appropriate sort of boundary is both a spatial and an energetic boundary, one having to do with energy states. The paper concludes with a simple example of a solid object that is used to show that the description of the action and motion of the whole cannot be reduced to the descriptions of the actions and motions of its atoms. (shrink)

Four- Dimensionalism defends the thesis that the material world is composed of temporal as well as spatial parts. This defense includes a novel account of persistence over time, new arguments in favour of the four-dimensional ontology, and responses to the challenges four- dimensionalism faces." "Theodore Sider pays particular attention to the philosophy of time, including a strong series of arguments against presentism, the thesis that only the present is real. Arguments offered in favour of four- dimensionalism include novel arguments (...) based on time travel, the debate between spacetime substantivalists and relationalists, and vagueness. Also included is a comprehensive discussion of the paradoxes of coinciding material objects, and a novel resolution of those paradoxes based on temporal counterpart theory. In conclusion Sider replies to prominent objections to four- dimensionalism, including discussion of the problem of the rotating homogenous disk. (shrink)

A person listening to music can be said to “hear space” in two senses: metaphorically, when the musical features of a composition, such as melody, harmony or rhythm, evoke a space (e.g., if she hears a “rising” melodic line) or suggest abstract concepts related to an imaginary spatial scene; and literally, when she perceives spatial information relating to sound sources and the spatial region where they are located. In this paper I will analyze the way we (...) perceive space when listening to music, focusing on the experience of physical space. I will apply a model of the way we experience non-musical (or environmental) sound sources to the perception of musical sound sources. I will argue that our experience of musical and non-musical sound sources involve similar perception of the spatial properties of sounds sources, by applying a specific model of spatial experience of non-musical sound sources to some musical compositions which exemplify different roles of space as an aesthetic tool, I will argue that our experience of musical and non-musical sound sources involve similar perception of the spatial properties of sound sources. Accordingly I will suggest that if we want to capture the difference between musical experience and the auditory experience of non-musical sounds with relation to space, we should probably focus on the experience of metaphorical space. (shrink)

Joshua Spencer (2010) has recently used the problem of spatial intrinsics in conjunction with the possibility of extended atomic regions of space to argue against the possibility of extended heterogeneous simples. In part 1, I explain Spencer’s argument against the possibility of heterogeneous simples. In part 2, I argue that if his argument is sound, then a parody argument can be constructed showing that heterogeneous composite objects are also impossible. In part 3, I provide an objection to my parody (...) argument. I then go on to argue that if this objection is successful, then Spencer’s argument is left susceptible to an analogous objection. In short, I argue that either Spencer has shown that composite and simple heterogeneous objects are impossible, or that Spencer’s argument against the possibility of extended heterogeneous simples (and my parody argument) is unsound. (shrink)

Can we maintain that purple seems composed of red and blue without giving up the impenetrability of the red and blue parts that compose it? Brentano thinks we can. Purple, according to him, is a chessboard of red and blue tiles which, although individually too small to be perceived, are together indistinctly perceived within the purple. After a presentation of Brentano’s solution, we raise two objections to it. First, Brentano’s solution commits him to unperceivable intentional objects (the chessboard’s tiles). Second, (...) his chessboard account fails in the end to explain the phenomenal spatial continuity of compound colours. We then sketch an alternative account, which, while holding fast to the phenomenal compoundedness of the purple and to the impenetrability of component colours, avoids introducing inaccessible intentional objects and compromising on the continuity of the purple. According to our proposal, instead of being indistinctly perceived spatial parts of the purple, red and blue are distinctly perceived non- spatial parts of it. (shrink)