In this reproduction of his original publication of 1649, Rene Descartes discusses how seekers of knowledge can best attain true insight of the world around them. Often referred to as simply the Discourse on the Method, this work is frequently cited as one of the most important to appear during the Enlightenment era. It discusses the ideal means through which those in search of knowledge can approach the world, and the practice of science, as a means of attaining true and (...) definitive insight. The Discourse on Method is influential chiefly for its role in establishing the scientific method; a technique which scientists have used to make valid discoveries over the centuries. Descartes instructs the reader to doubt everything, and to use this universal doubt as a starting point from which to approach a problem. In addition to matters of science, Descartes reflects upon his own personal, religious beliefs. In addition to his Method, Descartes also explains certain social and personal notions such as obeying the laws and statutes of his country and prioritizing self-advancement over the achievement of material wealth or fortune. Famous for including the much-quoted phrase "Je pense, donc je suis" - "I think, therefore I am" - the Discourse on Method today stands as a crucial cornerstone of countless educational courses on philosophy. (shrink)

Morse has produced a work that emphasizes the extreme significance and vital discipline of legal philosophy in representing the integration of legal principles and moral precepts. The Thinkers discusses, delineates, and analyzes the integral legal philosophies of Hobbes, Wilson, Aquinas, Augustine, Descartes, Hegel, Leibnitz, Kant, Carlyle,Thoreau, and Hohfeld.

This book encourages a debate over musical modernity; a debate considering the question whether an examination of the history of European art music may enrich our picture of modernity and whether our understanding of music's development may be transformed by insights into the nature of modernity provided by other historical disciplines.

It is frequently claimed that the human mind is organized in a modular fashion, a hypothesis linked historically, though not inevitably, to the claim that many aspects of the human mind are innately specified. A specific instance of this line of thought is the proposal of an innately specified geometric module for human reorientation. From a massive modularity position, the reorientation module would be one of a large number that organized the mind. From the core knowledge position, the reorientation module (...) is one of five innate and encapsulated modules that can later be supplemented by use of human language. In this paper, we marshall five lines of evidence that cast doubt on the geometric module hypothesis, unfolded in a series of reasons: (1) Language does not play a necessary role in the integration of feature and geometric cues, although it can be helpful. (2) A model of reorientation requires flexibility to explain variable phenomena. (3) Experience matters over short and long periods. (4) Features are used for true reorientation. (5) The nature of geometric information is not as yet clearly specified. In the final section, we review recent theoretical approaches to the known reorientation phenomena. (shrink)

I do not by any means with to take on the philosophy or aesthetics of music as a whole. In his review of Edward Lippman’s Humanistic Philosophy of Music, Monroe Beardsley lists six areas in which an ideal philosophy of music ought to provide guidance: an ontology of music, an answer to the question What is a musical work of art? a taxonomy of music, a categorical scheme for the basic and universal aspects of music; a hermeneutics or semiotics of (...) music, an answer to the question What, if anything, can music refer to? an epistemology of music; a theory of music criticism, an answer to the question What makes one musical work better than another? the foundations of a social philosophy of music.4 My subject here is the third item. I want most particularly to separate it from the fifth item, for to arrive at an interpretation of a particular piece is not to arrive at an evaluation of it. I shall also try, particularly in my discussion of Nelson Goodman’s seminal Languages of Art, to avoid the first item.5 And I shall try throughout to avoid embroilment in the question of how the aesthetic experience can be separated from the nonaesthetic.My subject is in fact only a part of the third item above, namely, current theories of musical expression. “Expression” is not equivalent to “meaning”; I understand and shall use the word “expression” to indicate a kind of meaning that entails some kind of reference outside the internal syntax of the artwork itself. As Goodman remarks, “rather obviously, to express is to refer in some way to what is expressed.”6 How this reference is made by the artwork is interaction with the listener, and what sort of purpose it serves—these concerns will be the focus of this essay. To choose this focus is not to deny something of which I have no doubt, both from Peter Faltin’s careful arguments and from my own experience: there is a kind of musical meaning that is purely syntactic, that operates without reference outside the internal operations or procedures of musical systems themselves.7 But through this may be ontologically the most fundamental kind of musical meaning, it is not the only kind. To listen for this alone is not the only way to approach music. Indeed, I should guess it is not the most fundamental way for many listeners. 4. I paraphrase and abbreviate from Monroe C. Beardsley, review of A Humanistic Philosophy of Music by Edward A. Lippman, Musical Quarterly 66 : 305.5. See Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols ; all further references to this work, abbreviated LA, will be included in the text.6. Goodman, “Reply to Beardsley,” Erkenntnis 12, pt. 1 : 171; and see Edward T. Cone: “Expressive values in any art … cannot arise from analytical values alone. How could they? Unless one wishes to explain what it could possibly mean for a work of art to ‘express itself,’ then one must agree that expression, by its very definition, implies a relationship between the work of art and something else; while analytical values are derivable purely from internal structure” . Anthony Newcomb, professor of music at the University of California, Berkeley, is the author of The Madrigal at Ferrara. He is currently at work on a book on musica ficta, Understood Accidentals in Renaissance Vocal Polyphony, 1450-1600, and a study of the relationship between structure and expression in nineteenth-century music. (shrink)

Being able to estimate quantity is important in everyday life and for success in the STEM disciplines. However, people have difficulty reasoning about magnitudes outside of human perception. This study examines patterns of estimation errors across temporal and spatial magnitudes at large scales. We evaluated the effectiveness of hierarchical alignment in improving estimations, and transfer across dimensions. The activity was successful in increasing accuracy for temporal and spatial magnitudes, and learning transferred to the estimation of numeric magnitudes associated with events (...) and objects. However, there were also a number of informative differences in performance on temporal, spatial, and numeric magnitude measures, suggesting that participants possess different categorical information for these scales. Educational implications are discussed. (shrink)

INTRODUCTION TO ASPECTS OF FACE PROCESSING: TEN QUESTIONS IN NEED OF ANSWERS. HD Ellis 1. INTRODUCTION These proceedings of the first international ...

Memory for spatial location is typically biased, with errors trending toward the center of a surrounding region. According to the category adjustment model, this bias reflects the optimal, Bayesian combination of fine-grained and categorical representations of a location. However, there is disagreement about whether categories are malleable. For instance, can categories be redefined based on expert-level conceptual knowledge? Furthermore, if expert knowledge is used, does it dominate other information sources, or is it used adaptively so as to minimize overall error, (...) as predicted by a Bayesian framework? We address these questions using images of geological interest. The participants were experts in structural geology, organic chemistry, or English literature. Our data indicate that expertise-based categories influence estimates of location memory—particularly when these categories better constrain errors than alternative categories. Results are discussed with respect to the CAM. (shrink)

Thelen et al. criticize “spatial coding” approaches to the A-not-B error. However, newer thinking about spatial coding provides more precise analytic categories and recognizes that different spatial coding systems normally coexist. Theorizing about spatial coding is largely compatible with dynamic-systems theory, augmenting it with an analysis of what one means when discussing “location at A” (or B).

This issue assesses how human spatial navigation differs: within individuals across short‐term variations in mood or stress, and between individuals across variations in age, gender, education, culture, and physical environment.