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The Masque of the Red Ink
With its big egos, huge wallets and itty-bitty outfits, satirizing the art world is not exactly hard work. But the Frieze Art Fair, which opened here last night, isn't just another pretty space.
By D.D. GuttenplanTwitter
Just in case you missed the irony of holding a festival devoted to the most conspicuous form of conspicuous consumption while the world wobbles on the brink of economic catastrophe, the organizers of the Frieze Art Fair, which opened last night in Regent's Park, have commissioned a collaboration between the German artist Christian Jankowski and the Italian boatyard CRN for a 65-meter superyacht. Buy it as a boat, and built to your own specifications it will cost you €65 million. Buy with added "art" status (but no other special features beyond a handsome certificate from Jankowski designating the yacht as floating "sculpture"), and the price jumps to €75 million.
With its big egos, huge wallets, and itty-bitty outfits, satirizing the art world is not exactly hard work. Personally, I have a soft spot for the Frieze, and not just because a couple of years ago the organizers paid me to give a talk on the WPA arts project, which gave a paycheck—and the promise of a future—to some of America's greatest artists and writers during our last Depression. I also liked the blend of naked hustle and "Hey, kids, let's put on a show" spirit shown by Frieze founders Amanda Sharp and Matthew Slotover, who managed to get the notoriously stuffy Royal Parks Agency to let them put up a tent in 2003, and through salesmanship and sheer willpower have turned the thing into an international phenomenon (coming to Randall's Island in May).
I took our daughter, who turned 16 yesterday, and we had a grand time gawking at the de Kooning and Chuck Close and Claes Oldenburgs visiting from New York, and at the gorgeous Grayson Perry vases. The point of the fair is commerce, not culture, and for every museum-certified great artist there are a hundred relative unknowns. Some of them are wonderfully silly, like Michael Elmgreen and Ingar Dragset's life-size—and lifelike—statue of a chimpanzee, standing on a pile of weighty books trying to reach a banana. And some are wonderfully charming, like Pawel Althamer's pensive metal and goat-hair Billy Goat 2011.
But the piece that Zoe and I both particularly loved, and which I wanted to let Nation readers know about, was in one of the more out-of-the-way stalls. Khalil Rabah's 50,320 thousands names is an oil painting made of five rectangular canvas panels, each of which depicts what appears to be a set of hanging files. The serene colors and the way the paper and wood lean against each other, and the grid made by the piles of books and paper all serve to draw you in; the effect is both very beautiful and also quite haunting. What are these files? And then, after searching out the title card, whose are these names?
And so I learned that Khalil Rabah lives in Ramallah, and that the names in his painting are of Palestinians who live in buildings listed in the Registry of Historic Buildings in Palestine. The painting is part of a larger project called The Palestinian Museum of Natural History and Humankind. With any luck that, too, will make its way to New York this spring.
D.D. GuttenplanTwitterD.D. Guttenplan is an editor at large at The Nation and the author of The Next Republic: The Rise of a New Radical Majority (Seven Stories Press).


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Sen. Mike Lee Blocks Senate Confirmation of LGBT Activist to EEOC
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26 Dec 2018, 9:30 PM PDT
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27 Nov 2018, 8:10 AM PDT
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Trump Administration Plans to Scrap Obama Rule Cracking Down on For-Profit Schools
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20 Mar 2018, 8:05 AM PDT
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Actor Oliver Stark on Starring Opposite Angela Bassett & Jennifer Love Hewitt in Ryan Murphy's '9-1-1' Series
by Kate Oczypok for LA Confidential
British actor Oliver Stark quickly became a fan favorite as Evan "Buck" Buckley, the young firefighter, on Ryan Murphy's 9-1-1 series on FOX. Alongside veteran actors Angela Bassett, Peter Krause and Jennifer Love Hewitt, Stark hits him mark.
The actor chatted with us about Season 2 of the show, what it's like working with veteran actors from Bassett to Krause and what other Ryan Murphy-led show he'd like to join if he were given the opportunity.
Congrats on Season 2 of 9-1-1! What can we expect to see during the second half of the season?
OLIVER STARK: We have a lot of big episodes ahead. They're strong, standalone episodes with real heart coursing throughout them.
What's it like working with acting veterans like Angela Bassett and Peter Krause?
OS: It's lovely. For me, it was obviously quite daunting at first. Once you step on set with them, they have no ego and are true professionals and just good human beings. I've been able to learn a lot and make really good friends. I feel almost duplicitous because I'm stealing some of their secrets at the same time.
If you had to join another Ryan Murphy show, what intrigues you the most?
OS: I'm very happy where I am on 9-1-1. I'm having the time of my life on the show. I think maybe I'd be interested in Pose. It's very forward, changing things and doing necessary work. I am very happy where I am though.
You have an extensive background in theater. What were some of your favorite plays you were in and would you ever consider acting in a theater setting again?
OS: I loved doing theater and would absolutely do it again. It would have to be the right place as theater is a big-time commitment. Things would have to make sense and line up properly. I would love to and do intend to go back. I used to do a lot of smaller, French theater back home. It's always nice to be part of grassroots stuff with new writers and actors, seeing people grow together. It was always my favorite thing to be a part of when I was back home.
You worked many jobs before acting, including a call center operator and nightclub promoter. Did you learn such a work ethic from your parents?
OS: I think it was from my parents. They made it clear from a young age that if I wanted to buy things and have things for myself, as soon as I am able to work I should go get a job. That instilled that in me and I am very thankful for it. I'm in a different line of work now but I still carry that same work ethic, if you have a job you work hard and do it to the best of your abilities. I definitely credit that to them.
Did you study acting and theater in school? Did you ever dream you'd be where you are today?
OS: I always did it at school. Back then, it wasn't my career choice until later in my schooling years. It was something I enjoyed but never really thought of it as being a viable career choice. I remember when I was about 16, we had these students who were 18 or 19 from a proper drama school come in. I said to one of them I wanted to be an actor but I felt like I couldn't say it because it's such a ludicrous thing to think I could be. I remember she said to me if you want to do it, go out and do it, don't let anybody tell you that you shouldn't be able to. I have to say that sparked and ignited something in me. I don't know who the person is or what their name is but I owe it to them really.
What are some of your upcoming projects?
OS: Everything now is 9-1-1. It is a show that keeps us very busy. We work long hours for a large portion of the year. I don't have anything else coming up right now, which is part of being on a network TV show. I'm very lucky to be where I am. We will be moving into our hiatus soon so I'll see if I can pick anything up for the little break, but part of me is kind of wanting a little rest, so we'll see what will happen.


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Brief History of Researches in Margiana
Spring 2003. The AK9 site before excavation.
If we leave on one side the adventurous excavations carried out at the beginning of the last century by a mission from the Carnegie Institute and led by Raphael Pumpelly regarding a Margian settlement from the I millennium BC, the real start of archaeological research in the region of the lower Murghab can be dated to 1946, with the setting up of the IUTAKE (Archaeological Expedition Complex in South Turkmenistan), under whose aegis between 1954 and 1956, the first excavations by M.E.Masson in the Delta area took place. There followed a long period of silence.
Margian Bronze Age sites according to Masimov (1979) and also Sarianidi (1990).
At the beginning of the seventies, discoveries made in northern Afghanistan and in the south of Uzbekistan reawakened the interest of a new generation of archaeologists in southern Turkmenistan. In 1972 the Margiana Archaeological Expedition (MAE) was set up by the Soviet Academy of Sciences and in the same year reconnaissance was carried out in the settlements of Auchin-depe and Takhirbai. Two years later, the Socialist Republic of Turkmenistan decided to promote its own archaeological researches and organised a special team from the Historical Institute "S. Batyrov" under the direction of Iminjan S. Masimov who, between 1975 and 1976, identified a new group of Bronze Age settlements of considerable size in a triangle between Takir Kelleli, Adji-Kui and AdamBassan (MASIMOV e LYAPIN: 1977). It is obvious that these researches stimulated many questions about the nature and distribution of prehistoric Margian settlements, and answers were sought by elaborating the data in their possession and advancing the first theories. The first attempt was made in 1981 hy Masimov, who divided the sites into three categories, on the basis of their size: 1) less than 5 hectares; 2) from S to 10 hectares; 3) more than 10 hectares.
One isolated piece of data stands out: the "Gonur case ", whose area exceeded 40 hectares, according to an estimate made by V. Sarianidi as reported by Ph. Kohl (1984: 146). This led Sarianidi to propose a hierarchy of the sites.
At the end of the seventies, using a map drawn up by Masimov and his observations on the size of the site, Sarianidi first put forward the hypothesis that the territory of the Delta was divided up into a certain number of city-states. He fixed their territorial limits in a map of the Bronze Age which, with very few variations, he reiterated many times. According to his interpretation, the capital cities were the largest sites, whilst the smaller ones should be seen as satellites dependent on the nine polis, that is Kelleli, Egri-Bogaz, Taip, Adam-Basan, Adji Kui, Gonur, Auchin, Togolok, Takhirbai. However, considering the greater extension of the site of Gonur, ftom 1993 it began to be considered the capital of the entire region, both administrative and religious, so much so that in 2002 the hypothesis was förmulated that a prehistoric Margian kingdom existed, the Kingdom of Marguş, which should be inserted in an orbital system. At the centre was Gonur, around which gravitated in a concentric orbit of variable extension the other nine smaller and subordinate citadels, as far as Kelleli, which was situated at the edge of the last orbit, between 30 and 40 km in radius.
The Gonur-centric system according to Sarianidi (2005).
In the meantime, starting in 1989, the AMMD (Archaeological Map of the Murghab Delta) project had been set up, directed by A. Gubaev, Dean of the University of Ashgabat, G. Koshelenko, of the Academy of Sciences in Moscow, and M. Tosi of the IsMEO (afterwards IsIAO) who, being able to count on the collaboration of I. Masimov, proposed a critical revisiting of the Margian sites and a re-reading of their literature. Finally, S. Salvatori, who participated actively on this project, wrote that, thanks to avant-garde techniques and control of the soil " ... we are able to correct and redefine the picture traced by the first pioneering explorations in the fifties and sixties " (SALVATORI 2004: 7-52) . This statement does not seem to meet with universal agreement.
One has the impression, even if he affirms that "... the spatial organisational model proposed by Masimov in 1981 has been decisively superseded today" (ibid), the basic picture remains more or less that proposed by Masimov and Sarianidi. It should be borne in mind that in all the theories elaborated up to now, the extension of the sites has been considered as directly proportional to their importance. This is a theory that needs to be demonstrated since, whilst some sites have been reconstructed on top of' pre-existing ones, others were abandoned and reconstructed nearby, thus occupying a larger area, but in completely different periods. To this end, S. Salvatori correctly observes that: "This interpretation is, in reality, the result of a chronological telescoping of the settlement system by the first explorers of the area. The settlement of Gonur 1, for example, consists of two mound formations, one larger to the north, and a smaller one to the south. The northern mound has been clearly ascribed to the Namazga V period (Bronze Age), while the southern one, apart from the lowest level, can be dated to the following Namazga V period (Late Bronze Age) " (ibid.). Moreover, it should be observed that the presumed 'extension = importance of site' idea is to a considerable degree the result of surface observations which are often limited to what can be seen now, without considering the complex workings of external modifications which have taken place over the last 5,000 years.
Let us take as an example the complex of Adj Kui. According to Masimov's surveys, redrawn and updated by the AMMD, AKI covered an area of 3.5 hectares and AK9 0.98 hectares. However, after the interventions of cleaning, sounding und excavation which we have carried out, the area covered by the site has proved to be much larger: AKI at least 14 hectares, AK9 about 6.25 hectares and the necropolis, situated between the two entities about 10 hectares. The whole therefore covers an area of at least 30 hectares, a figure very close to that of Altyn-depe, which has been calculated at 26 hectares. How is it therefore possible to put forward a hierarchy of sites exposed for millennia to profound external modifications by taking just surface area as the yardstick? In the wake of the hypothesis proposed by Sarianidi regarding the hierarchy of the Margian sites, even if at a more complex and sophisticated level, there would seem to have been a tendency towards elaboration of data collected by the AMMD which, on applying the Thiessel polygon model to the Margian case, could demonstrate the existence "of a settlement system hierarchically organised with Gonur North at it centre" around which " the secondary sites spread out like a sunburst, in a coherent latticework and at modular distances" (SALVATORI: ib.)
But is this not Sarianidi's hypothesis? Let us then consider the idea of a Margian "kingdom " with a "capital ", Gonur, around which gravitated the satellite sites, with the Thiessen polygonal latticework taken as demonstrating definite proof. It is worth remembering that the 'Thiessen polygon' enjoyed a certain vogue in classical archaeology in the eighties, when the hierarchy of sites distributed throughout a given territory, yet with indefinable boundaries, needed to be "demonstrated ". However, this method was quickly shelved.
The reasons why it was unacceptable have been spelled out by Claudio Cerreti, professor of Political and Economic Geography at the University of Rome and national co-ordinator of the Italian Centre for HistoricalGeographical Studies: The Thiessen polygons were employed in geography (economic, urban) and in archaeology some decades ago. However, like other geometric-graphic systems, they were subsequently abandoned because they were unconvincing. Quite simply, in fact, nearly all those methods which postulate a "too simple" solution have been abandoned because they could not work. In geometry, the "too simple" condition is that the space is isomorphic. 'This does not, however, reflect the reality of land surface, where each point possesses an unrepeatable "value" of its own and where each surface, however irregular, includes different elements than any other surface, even if equal in area.
The Gonur-centric system according to Salvatori (2004) - Thiessen's polygonal network calculated on Gonur Sud (IsIAO 1998).
This kind of method continues to be used for approximate calculations and, in certain conditions, it can make sense: it simplifies reality and allows one to formulate certain arguments, even if somewhat "theoretical". But to claim that they can explain how those things work, thanks to these methods, has by now, I believe, been sidelined. To conclude: any analysis of this type might have a preliminary use for comparison purposes with respect to a situation which, step by step, can be documented. It is a little like discussing the values of (medium) density of population and then verifying in certain areas how far it moves away from the medium. It is not completely senseless, but one should always bear in mind that it is rather "rarefied". If, to all this, we add that the entire Margian area examined topographically up to now forarchaeological purposes is 30% covered by dunes (CREMASCHI 1998:19), we must conclude that, more than fifty years after the first researches, it is still not possible to agree on a picture of the Bronze Age in Margiana. The architectonic monumentality of the fortified citadels is by no means free of doubts and not everyone accepts a picture of cultural interrelationships in which now the civilisation of the Indus Valley is considered paramount, now the Elamite and Trans-Elamite, now the Mycenean, now that of the nomads of the Asiatic steppes. Still others do not agree on hypotheses dealing with the peopling of the region, which change either according to virtually elementary mechanisms (simple migration ftom the piedmont area of the Kopet Dagh) or to complex systems revolving around the theme of proto-Zoroastrianism, or to even more complex guestions of proto-Aryan peoples.
Finally, even regarding the validity of the chronology that we have adopted up to now, this would seem to be in line with Namazga IVV- VI sequences, yet there still remain doubts and perplexities. So much so that the French mission directed by Olivier Lecomte at Ulugdepe is working on a review of this problem. As has been noted, we are confronted with a general picture which has not been greatly benefited even by the most recent studies, which are unfortunately limited to studving data from the surface. Therefore, as already stated, the imperative remains the same: excavate in order to understand.
(ibid., p. 30-37)
Source: Rossi Osmida, G.: Adji Kui Oasis. Vol.I: The Citadel of the Figurines.Venice: Il Punto Edizioni 2007.
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'Big Sky': Camille Sullivan, Chad Willett & Patrick Gallagher To Recur In ABC Drama Series
Alexandra Del Rosario
1 December 2020, 1:00 pm ·2-min read
EXCLUSIVE: As the mystery at the center of Big Sky unfolds, so do the stories of the various characters living in David E. Kelley's world. Set to join the ABC crime drama's family are Camille Sullivan, Chad Willett and Patrick Gallagher in recurring roles.
Starring Katheryn Winnick, Kylie Bunbury and Ryan Phillippe, Big Sky centers on private detectives Cassie Dewell and Cody Hoyt, who team with ex-cop Jenny Hoyt, to search for two sisters mysteriously kidnapped by a truck driver in Montana. Upon learning that the kidnapping isn't an isolated incident, the law officials must race against the clock to prevent any more abductions.
Sullivan and Chad Willet will play Joanie Sullivan and Robert Sullivan, the parents of two kidnapped sisters played by Jade Pettyjohn and Natalie Alyn Lind. The parents, arriving in Helena from out of town, are pushed to their limits as they search for their missing daughters.
Gallagher portrays Sheriff Walter Tubb, an officer for the Lewis and Clark County sheriff's department. Tubb cares deeply about his Montana community but is often caught between sheriff expectations and wanting to do the right thing.
Based on the book series by C.J. Box, Big Sky is executive produced by David E. Kelley, Ross Fineman, Matthew Gross, Paul McGuigan, C.J. Box and Gwyneth Horder-Payton, and is produced by 20th Century Fox Television in association with A+E Studios.
Camille Sullivan's resume includes roles in Unspeakable, The Disappearance, Kingsway and The Birdwatcher. She has appeared in recurring guest star roles in titles including Falling Skies, Man IN The High Castle, Rookie Blues and Hellcats. She is set to star in Shawn Linden's Hunter Hunter.
Willett most recently appeared in The Good Doctor, Beyond and Broken Diamonds. His roster also includes House MD, bones, The Chronicle, Joan of Arc, Alive and The Cape.
Both Sullivan and Willett are repped by RED Management.
Glee and Night at the Museum actor Gallagher recently appeared in Station 19, Fortunate Son, American Princess and Siren. Additional credits include Captain Marvel, A Dog's Way Home and Twilight Zone. Gallagher is repped by Lucas Talent and Vanguard Management and AKA Talent.
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Tickets are $20, $15 concession book on 9330 4565 or at www.meltheco.org.au.
SOCIAL snobbery in all its guises comes to the fore in Melville Theatre's latest production, as old views of British society clash with contemporary attitudes of American culture.
Written by Noel Coward and directed by Tarryn Harris (née Bullock), Relative Values is a comedy about the Earl of Marshwood choosing a Hollywood actress as his bride.
Her arrival at Marshwood Manor sends everyone into a tailspin, given she lives her life off-screen as though she is still in front of the camera.
Coward is famous for a wealth of plays including Hay Fever, Private Lives, Design For Living, Present Laughter and Blithe Spirit.
Relative Values was first performed in 1951 and adapted into a 2000 film featuring Julie Andrews, Colin Firth and William Baldwin.
Harris says she has always loved Coward's humour.
"After directing his one-act play Hands Across The Sea last year, I wanted to tackle one of his full-length plays," she said.
"Relative Values is one of the less well-known Coward plays, written decades after his most famous ones, which makes it a bit more refreshing in setting and character.
"I love the interactions between the characters and the individuality of each personality."
Originally studying drama, dance and music at John Curtin College of the Arts, Harris has gone on to perform with Limelight, Roleystone, Stirling and Melville Theatres, Prompt Corner and the MS Society in a variety of productions over the past decade.
In 2012, she received a best female (other than a lead) nomination at the annual Finley Awards for her role in the musical Jack The Ripper at the Koorliny Arts Centre.
With Relative Values, Harris said the main challenge is managing all elements of the production on such a large scale.
"Tying in with that, I also need to make sure everything is ready when it needs to be," she said. "But I feel confident with the support I've been given by everyone around me.
"When it came to auditioning, finding the right number and quality of available male actors was challenging but I'm glad to say it all fell into place for this production."
Relative Values plays at 8pm, July 11, 12, 17, 18, 19, 24, 25 and 26 with a 2pm matinee July 20. Tickets are $20, $15 concession – book on 9330 4565 or at www.meltheco.org.au.
Melville Theatre is on the corner of Stock Road and Canning Highway, Palmyra.
Stage Whispers - Review


Learning by heart, give it a try!
I have decided to start learning by heart the first chapter of 星の王子さま which is the Japanese translation of The Little Prince. I explained the benefit of learning by heart in this post and so far, it totally works for me.
What helps me is that The Little Prince is a story I know very well. I had to learn some passages by heart at school because we staged it in the class. Much later, when I studied German, I listen many times to the audiobook read by Ulrich Mühe.
Anyway, by learning sentences by heart, I really feel comfortable with grammar structures I had to think of before.
なら I know that it is used with the casual form of verbs, but having learned: 再現してみるなら it comes more naturally if I need to use this structure. It's the difference between knowing how a grammar should be formed and being able to use it correctly without even think of it.
もう動けなくなり to the negative form 動けない is attached the grammar point なる which is formed by replacing the い ending by く. It's all easy grammar really but if I have had to form this sentence by myself, I think that I would have had to think about it for a few seconds.
帽子なんかじゃない Here, I found the use of なんか which is something I often see and want to get more familiar with.
大人たちにも分かるように I often forgot that 分かる is used with に. It is counterintuitive to me.
… 置いときなさい Here is an example of the contractive form of the grammar ~ておく. I really had troubles with that before I knew that とく was the contraction of ておく.
…というわけで It is something that I really hear a lot. In most videos I watch, people will end up saying something like "はい、というわけで". I will try to use it in my writing exercises, it sounds cool.
いやになる another expressions I knew because it was in my Anki deck, but I hadn't really appropriated it. Now I think that I have.
Those are only examples taken from the beginning of chapter 1. In fact, I find something interesting in almost every sentence.
It allows you to transform passive knowledge into active competence. The problem with self-taught languages is that there is often a gap between what we know/recognize, and what we are able to use, learning by heart can help shrink this gap.
In all language learning experience, there is this moment when you find yourself able to say almost everything you want to say in a more or less correct way. The difficult thing is to not stagnate at this level and to take the next step that will bring you from "being able to communicate" to "being fluent, using colloquial expressions, impressing native speaker, etc". Taking this last step surely requires a lot of efforts and learning by heart is one of the strategies to get there.


text:
Georges Davy, né le  à Bernay (Eure) et mort le  à Coutances (Manche), est un sociologue français.

Il fut professeur de sociologie à la Sorbonne, membre de l'Académie des sciences morales et politiques, président du jury de l'agrégation de philosophie et doyen de la Faculté des lettres de Paris. Son œuvre continue et illustre les travaux d'Émile Durkheim dans le domaine du droit.

Il participa en 1928 au premier cours universitaire de Davos, avec de nombreux autres intellectuels français et allemands.

Principales publications
 Émile Durkheim: choix de textes avec étude du système sociologique par Georges Davy. Les Grands Philosophes français et étrangers, Paris, Société des éditions Louis Michaud, 1911, 228 p,
 Le droit, l'idéalisme et l'expérience, 1922
 La foi jurée : étude sociologique du problème du contrat, la formation du lien contractuel, 1922
 (avec Alexandre Moret) Des clans aux empires; l'organisation sociale chez les primitifs et dans l'Orient ancien, (L'évolution de l'humanité. synthèse collective. Sect. 1,6), La Renaissance du Livre, Paris, 1923
 Éléments de sociologie, 1929.
 Sociologues d'hier et d'aujourd'hui, Librairie Félix Alcan, 1931
 Leçons de sociologie par Émile Durkheim, 1950
 Thomas Hobbes et J.J. Rousseau, 1953.

Rééditions
 L'Homme : le fait social et le fait politique, Paris & La Haye, Mouton, 1973

Bibliographie
 .
 .
 .
 .
 .

Distinctions
 Membre de l'Institut (Académie des sciences morales et politiques) en 1952, puis président en 1965
 Membre de l'Académie Royale de Belgique en 1955
 Membre de l'Académie des sciences de Bucarest
 Membre de l'Académie des sciences, arts et belles-lettres de Dijon
 Docteur  de l'Université de Bruxelles
 Professeur  de l'Université du Brésil.

Décorations
 Commandeur dans l'ordre des Palmes académiques, le
 Grand officier de la légion d'honneur, le
 Grand officier du Nichan Iftikhar de Tunisie
 Chevalier de l'Ordre du Bain de l'Empire Britannique ()
 Commandeur de l'Ordre d'Orange-Nassau des Pays-Bas
 Commandeur de l'Ordre national de la Croix du Sud du Brésil
 Officier du Lion blanc de Prague.

Hommages
Une place à Coutances porte son nom.

Articles connexes
 Émile Durkheim
 Maurice Halbwachs
 Marcel Mauss
 Alexandre Moret
 Célestin Bouglé

Notes et références

Liens externes

Sites internet

 Présentation de Georges Davy, sur le site de l'association Anamnèse

Bases de données

Sociologue français du XXe siècle
Enseignant à la Sorbonne
Membre de l'Académie des sciences morales et politiques
Naissance à Bernay (Eure)
Naissance en décembre 1883
Décès en juillet 1976
Décès à Coutances
Décès à 92 ans
Recteur d'académie
Professeur de sociologie
Professeur à la faculté des lettres de Paris
Doyen de faculté
Doyen de la faculté des lettres de Paris

redpajama_set_name: RedPajamaWikipedia


text:
Works by M. Matthen
( view other items matching `M. Matthen`, view all matches )
Disambiguations Disambiguations:
Mohan Matthen [39] M. Matthen [1]
See also See also:
Mohan Matthen
University of Toronto, St. George
The Pleasure of Art.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):6-28.details
This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...) critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)
Bookmark 11 citations
Is Memory Preservation?Mohan Matthen - 2010 - Philosophical Studies 148 (1):3-14.details
Memory seems intuitively to consist in the preservation of some proposition (in the case of semantic memory) or sensory image (in the case of episodic memory). However, this intuition faces fatal difficulties. Semantic memory has to be updated to reflect the passage of time: it is not just preservation. And episodic memory can occur in a format (the observer perspective) in which the remembered image is different from the original sensory image. These difficulties indicate that memory cannot be preserved content. (...) It is proposed that what is preserved in memory isan underlying "trace", and that in every act of remembering, memorial content is reconstructed from the preserved trace. (shrink)
The Individuation of the Senses.Mohan Matthen - 2015 - In Oxford Handbook of the Philosophy of Perception. Oxford University Press. pp. 567-586.details
How many senses do humans possess? Five external senses, as most cultures have it—sight, hearing, touch, smell, and taste? Should proprioception, kinaesthesia, thirst, and pain be included, under the rubric bodily sense? What about the perception of time and the sense of number? Such questions reduce to two. 1. How do we distinguish a sense from other sorts of information-receiving faculties? 2. By what principle do we distinguish the senses? Aristotle discussed these questions in the De Anima. H. P. Grice (...) revived them in 1967. More recently, they have taken on fresh interest as a result of a collection of essays edited by Fiona Macpherson. This entry reviews some approaches to these questions and advances some new ideas for the reader's consideration. It proposes that the senses constitute an integrated learning system, membership in which answers question 1. It also proposes that the modalities can be distinguished from one another in two ways, by the means of information pick-up and by the kinds of activity that a perceiver undertakes to make use of them. (shrink)
Bookmark 9 citations
An Untutored Reaction of Incredulity: A Review of Thomas Nagel's Mind and Cosmos.Mohan Matthen - 2013 - Philosophers' Magazine 60 (-1):114 - 117.details
Drift and "Statistically Abstractive Explanation".Mohan Matthen - 2009 - Philosophy of Science 76 (4):464-487.details
A hitherto neglected form of explanation is explored, especially its role in population genetics. "Statistically abstractive explanation" (SA explanation) mandates the suppression of factors probabilistically relevant to an explanandum when these factors are extraneous to the theoretical project being pursued. When these factors are suppressed, the explanandum is rendered uncertain. But this uncertainty traces to the theoretically constrained character of SA explanation, not to any real indeterminacy. Random genetic drift is an artifact of such uncertainty, and it is therefore wrong (...) to reify it as a cause of evolution or as a process in its own right. *Received July 2009. †To contact the author, please write to: Department of Philosophy, University of Toronto, 170 St. George St., Toronto, ON M5R 2M8, Canada; e‐mail: mohan.matthen@utoronto.ca. (shrink)
How Things Look (And What Things Look That Way).Mohan Matthen - 2010 - In Bence Nanay (ed.), Perceiving the World. Oxford University Press. pp. 226.details
What colour does a white wall look in the pinkish light of the late afternoon? Philosophers disagree: they hold variously that it looks pink, white, both, and no colour at all. A new approach is offered. After reviewing the dispute, a reinterpretation of perceptual constancy is offered. In accordance with this reinterpretation, it is argued that perceptual features such as color must always be predicated of perceptual objects. Thus, it might be that in pinkish light, the wall looks white and (...) the light looks pink. The paper concludes by discussing some criteria for object identification in perceptual states. (shrink)
Four Pillars of Statisticalism.Denis M. Walsh, André Ariew & Mohan Matthen - 2017 - Philosophy, Theory, and Practice in Biology 9 (1).details
Over the past fifteen years there has been a considerable amount of debate concerning what theoretical population dynamic models tell us about the nature of natural selection and drift. On the causal interpretation, these models describe the causes of population change. On the statistical interpretation, the models of population dynamics models specify statistical parameters that explain, predict, and quantify changes in population structure, without identifying the causes of those changes. Selection and drift are part of a statistical description of population (...) change; they are not discrete, apportionable causes. Our objective here is to provide a definitive statement of the statistical position, so as to allay some confusions in the current literature. We outline four commitments that are central to statisticalism. They are: 1. Natural Selection is a higher order effect; 2. Trait fitness is primitive; 3. Modern Synthesis (MS)-models are substrate neutral; 4. MS-selection and drift are model-relative. (shrink)
New Prospects for Aesthetic Hedonism.Mohan Matthen - forthcoming - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. London: Routledge.details
Because culture plays a role in determining the aesthetic merit of a work of art, intrinsically similar works can have different aesthetic merit when assessed in different cultures. This paper argues that a form of aesthetic hedonism is best placed to account for this relativity of aesthetic value. This form of hedonism is based on a functional account of aesthetic pleasure, according to which it motivates and enables mental engagement with artworks, and an account of pleasure-learning, in which it reinforces (...) the appreciation of culture specific ways of engaging with art. (shrink)
Introduction to Oxford Handbook of Philosophy of Perception.Mohan Matthen - 2015 - In Oxford Handbook of the Philosophy of Perception. Oxford University Press. pp. 1-25.details
Perception is the ultimate source of our knowledge about contingent facts. It is an extremely important philosophical development that starting in the last quarter of the twentieth century, philosophers have begun to change how they think of perception. The traditional view of perception focussed on sensory receptors; it has become clear, however, that perceptual systems radically transform the output of these receptors, yielding content concerning objects and events in the external world. Adequate understanding of this process requires that we think (...) of perception in new ways—how it operates, the differences among the modalities, and integration of content provided by the individual senses. Philosophers have developed new analytic tools, and opened themselves up to new ways of thinking about the relationship of perception to knowledge. The Oxford Handbook of the Philosophy of Perception is a collection of entries by leading researchers that reviews these new directions in philosophical thought. The Introduction to the Handbook reviews the history of the subject from its beginnings in ancient Greece to the nineteenth century, and the way that science and philosophy have together produced new conceptions during the last hundred years. It shows how the new thinking about perception has led to a complex web of theories. (shrink)
Active Perception and the Representation of Space.Mohan Matthen - 2014 - In Dustin Stokes, Mohan Matthen & Stephen Biggs (eds.), Perception and Its Modalities. Oxford University Press. pp. 44-72.details
Kant argued that the perceptual representations of space and time were templates for the perceived spatiotemporal ordering of objects, and common to all modalities. His idea is that these perceptual representations were specific to no modality, but prior to all—they are pre-modal, so to speak. In this paper, it is argued that active perception—purposeful interactive exploration of the environment by the senses—demands premodal representations of time and space.
Many Molyneux Questions.Mohan Matthen & Jonathan Cohen - forthcoming - Australasian Journal of Philosophy:1-17.details
(This paper will appear in the Australasian Journal of Philosophy. The Accepted Version will be posted when it is published.) -/- Molyneux's Question (MQ) concerns whether a newly sighted man would recognize/distinguish a sphere and a cube by vision, assuming he could previously do this by touch. We argue that (MQ) splits into questions about (a) shared representations of space in different perceptual systems, and about (b) shared ways of constructing higher dimensional spatiotemporal features from information about lower dimensional ones, (...) most of the technical difficulty centring on (b). So understood, MQ resists any monolithic answer: everything depends on the constraints faced by particular perceptual systems in extracting features of higher dimensionality from those of lower. Each individual question of this type is empirical and must be investigated separately. We present several variations on MQ based on different levels of dimensional integration—some of these are familiar, some novel adaptations of problems known elsewhere, and some completely novel. Organizing these cases in this way is useful because it unifies a set of disparate questions about intermodal transfer that have held philosophical and psychological interest, suggests a new range of questions of the same type, sheds light on similarities and differences between members of the family, and allows us to formulate a much-augmented set of principles and questions concerning the intermodal transfer of spatiotemporal organization. (shrink)
Play, Skill, and the Origins of Perceptual Art.Mohan Matthen - 2015 - British Journal of Aesthetics 55 (2):173-197.details
Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...) pleasure in contemplation, not value extracted from the object by activities other than contemplation. The theory is that aesthetic pleasure is a motivation for learning skills. Two forms of pleasure are postulated. The first accompanies the spontaneous activity necessary for learning a more or less universal basic level of skill. The second accompanies highly skilled activity. This second kind of pleasure is specific to art as such. (shrink)
Color Experience: A Semantic Theory.Mohan Matthen - 2010 - In Jonathan Cohen & Mohan Matthen (eds.), Color Ontology and Color Science. MIT Press. pp. 67--90.details
What is the relationship between color experience and color? Here, I defend the view that it is semantic: color experience denotes color in a code innately known by the perceiver. This semantic theory contrasts with a variety of theories according to which color is defined as the cause of color experience (in a special set of circumstances). It also contrasts with primary quality theories of color, which treat color as a physical quantity. I argue that the semantic theory better accounts (...) for the kinds of knowledge we have regarding both the color of objects that we see and of the colors themselves. (shrink)
Debunking Enactivism: A Critical Notice of Hutto and Myin's Radicalizing Enactivism. [REVIEW]Mohan Matthen - 2014 - Canadian Journal of Philosophy 44 (1):118-128.details
In this review of Hutto and Myin's Radicalizing Enactivism, I question the adequacy of a non-representational theory of mind. I argue first that such a theory cannot differentiate cognition from other bodily engagements such as wrestling with an opponent. Second, I question whether the simple robots constructed by Rodney Brooks are adequate as models of multimodal organisms. Last, I argue that Hutto and Myin pay very little attention to how semantically interacting representations are needed to give an account of choice (...) and action. (shrink)
Image Content.Mohan Matthen - 2014 - In Berit Brogaard (ed.), Does Perception Have Content? Oxford University Press. pp. 265-290.details
The senses present their content in the form of images, three-dimensional arrays of located sense features. Peacocke's "scenario content" is one attempt to capture image content; here, a richer notion is presented, sensory images include located objects and features predicated of them. It is argued that our grasp of the meaning of these images implies that they have propositional content. Two problems concerning image content are explored. The first is that even on an enriched conception, image content has certain expressive (...) limitations. In particular, it cannot express absolute location and time (as opposed to spatiotemporal relations) or logical complexity. Yet, perceptual experience does seem to express certain absolute locations—namely, here and now. How can it do so? Secondly, image content cannot exhaust the significance of perceptual states. This is proved by noting that perception, memory, and anticipation can have the same image content. Yet they have different significance. These problems show that some of the significance of sensory states comes from outside the image. (shrink)
How to Be Sure: Sensory Exploration and Empirical Certainty.Mohan Matthen - 2014 - Philosophy and Phenomenological Research 88 (1):38-69.details
I can be wrong about things I seem to perceive; the conditions might lead me to be mistaken about them. Since I can't rule out the possibility that the conditions are misleading, I can't be sure that I am perceiving this thing in my hand correctly. But suppose that I am able to examine it actively—handling it, looking closer, shining a light on it, and so on. Then, my level of uncertainty goes down; in the limit it is eliminated entirely. (...) Of course, I might be mistaken because I am a brain in a vat, or because some other sceptical scenario obtains. But sceptical scenarios apply not just to this thing in my hand, but to everything all at once. Define "empirical certainty" as the absence of the kind of doubt that spreads to all empirical states of affairs. Sensory exploration, or active examination, can in principle lead to empirical certainty. (shrink)
How to Explain Pleasure.M. Matthen - 2014 - British Journal of Aesthetics 54 (4):477-481.details
Stephen Davies' book The Artful Species is a nuanced and learned attempt to show how evolution does, and does not, account for the human capacity to produce and appreciate beautiful things. In this critical note, his approach to aesthetic pleasure is examined. Aesthetic pleasure, it is argued, is a state that encourages us to continue with our perceptual or intellectual engagement with something. Such pleasure displays a different profile from states that urge us to use an object to satisfy a (...) need, and which terminate when that need has been met. Davies subsumes aesthetic pleasure to the latter kind of state. This is a mistake. (shrink)
What is a Hand? What is a Mind?Mohan Matthen - 2000 - Revue Internationale de Philosophie (214):653-672.details
Argues that biological organs, including mental capacities, should be identified by homology (not function).
Ephemeral Vision.Mohan Matthen - 2018 - In Thomas Crowther & Clare Mac Cumhaill (eds.), Perceptual Ephemera. Oxford: Oxford University Press. pp. 312-339.details
Vision is organized around material objects; they are most of what we see. But we also see beams of light, depictions, shadows, reflections, etc. These things look like material objects in many ways, but it is still visually obvious that they are not material objects. This chapter articulates some principles that allow us to understand how we see these 'ephemera'. H.P. Grice's definition of seeing is standard in many discussions; here I clarify and augment it with a criterion drawn from (...) Fred Dretske. This enables me to re-analyse certain ephemera that have received counter-intuitive treatments in the work of Kendall Walton (photographs), Brian O'Shaughnessy (light), and Roy Sorenson (occlusions). (shrink)
Visual Demonstratives.Mohan Matthen - 2012 - In Athanasios Raftopoulos & Peter Machamer (eds.), Perception, Realism and the Problem of Reference. Cambridge University Press.details
When I act on something, three kinds of idea (or representation) come into play. First, I have a non-visual representation of my goals. Second, I have a visual description of the kind of thing that I must act upon in order to satisfy my goals. Finally, I have an egocentric position locator that enables my body to interact with the object. It is argued here that these ideas are distinct. It is also argued that the egocentric position locator functions in (...) the same way as a demonstrative, and that the involvement of such demonstratives in visual content negates naive realism. (This is a nearly final draft of a paper that is to be published in Raftopoulos and Machamer (eds), Perception, Realism, and the Problem of Reference (forthcoming from Cambridge UP. It is a shorter revised version of "Visual Reference", posted earlier.). (shrink)
Sorting the Senses.Stephen Biggs, Mohan Matthen & Dustin Stokes - 2014 - In Dustin Stokes, Mohan Matthen & Stephen Biggs (eds.), Perception and its Modalities. Oxford University Press. pp. 1-19.details
We perceive in many ways. But several dubious presuppositions about the senses mask this diversity of perception. Philosophers, scientists, and engineers alike too often presuppose that the senses (vision, audition, etc.) are independent sources of information, perception being a sum of these independent contributions. We too often presuppose that we can generalize from vision to other senses. We too often presuppose that vision itself is best understood as a passive receptacle for an image thrown by a lens. In this essay (...) we illustrate how reflection on results from the cognitive sciences undermine these (and many other) traditional presuppositions. Our illustration situates the remaining essays in the volume, Perception and its Modalities, which further extend the case against various traditional presuppositions, and offer alternatives ways to understand the senses and their role in perception. While many of the essays in this volume represent competing views and draw on different fields, from conceptual analysis to engineering, most contributors believe that to understand perception properly, we need to treat as foundational the idea that the senses work together. From that agreement, new paradigms for theorizing about perception begin to emerge. (shrink)
Art, Pleasure, Value: Reframing the Questions.Mohan Matthen - 2018 - Philosophic Exchange 47 (1).details
In this essay, I'll argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just a "feeling" or "sensation" that results from engaging with a work (...) of art. It is rather a mental state that facilitates engagement with an artwork, and (in the long run) enables a consumer to learn how to maximize this kind of pleasure. This is where culture comes in. If you belong to a culture, you know how to engage pleasurably with an artwork that is produced so you can engage with it in just this way. The aesthetic value of an artwork is that it plays into such a culture-pleasure nexus. -/- . (shrink)
Introduction.Jonathan Cohen & Mohan Matthen - 2010 - In Jonathan D. Cohen & Mohan Matthen (eds.), Color Ontology and Color Science. MIT Press.details
The Introduction discusses determinables and similarity spaces and ties together the contributions to Color Ontology and Color Science.
The Holistic Presuppositions of Aristotle's Cosmology.Mohan Matthen - 2001 - Oxford Studies in Ancient Philosophy 20:171-199.details
Argues that Aristotle regarded the universe, or Totality, as a single substance with form and matter, and that he regarded this substance together with the Prime Mover as a self-mover.
Constructing Aesthetic Value: Responses to My Commentators.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):100-111.details
This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of a work of art (...) is its capacity to elicit from a suitably well-informed consumer a specific kind of pleasure. (shrink)
Millikan's Historical Kinds.Mohan Matthen - 2013 - In Dan Ryder, Justine Kingsbury & Kenneth Williford (eds.), Millikan and Her Critics. Wiley. pp. 135-154.details
Assembling the Emotions.Vincent Bergeron & Mohan Matthen - 2008 - In Luc Faucher & Christine Tappolet (eds.), The Modularity of Emotions. University of Calgary Press. pp. 185-212.details
In this article, we discuss the modularity of the emotions. In a general methodological section, we discuss the empirical basis for the postulation of modularity. Then we discuss how certain modules -- the emotions in particular -- decompose into distinct anatomical and functional parts.
Aristotle's Theory of Potentiality.Mohan Matthen - 2014 - In John P. Lizza (ed.), Potentiality: Metaphysical and Bioethical Dimensions. Johns Hopkins University Press. pp. 29-48.details
In this paper, I examine Aristotle's notion of potentiality as it applies to the beginning of life. Aristotle's notion of natural kinēsis implies that we should not treat the entity at the beginning of embryonic development as human, or indeed as the same as the one that is born. This leads us to ask: When does the embryo turn into a human? Aristotle's own answer to this question is very harsh. Bracketing the views that lead to this harsh answer, his (...) theory of kinēsis still gives us reason for searching for a replacement answer. Aristotle's own work unfortunately gives us no help in finding this answer. (shrink)
Why Does Earth Move to the Center? An Examination of Some Explanatory Strategies in Aristotle's Cosmology.Mohan Matthen - 2009 - In Alan C. Bowen & Christian Wildberg (eds.), New Perspectives on Aristotle's De Caelo. Brill. pp. 1--119.details
How, and why, does Earth (the element) move to the centre of Aristotle's Universe? In this paper, I argue that we cannot understand why it does so by reference merely to the nature of Earth, or the attractive force of the Centre. Rather, we have to understand the role that Earth plays in the cosmic order. Thus, in Aristotle, the behaviour of the elements is explained as one explains the function of organisms in a living organism.
Greek Ontology and the 'Is' of Truth.Mohan Matthen - 1983 - Phronesis 28 (2):113 - 135.details
The author investigates greek ontologies that apparently rely on a conflation of "binary" (x is f) and "monadic" (x is) uses of 'is'. He uses Aristotelian and other texts to support his proposal that these ontologies are explained by the Greeks using two alternative semantic analyses for 'x is F'. The first views it as asserting a relation between x and F, the second as asserting that a "predicative complex" exists, where a predicative complex is a complex consisting of x (...) and F. The article concludes by indicating some uses for the novel concept of predicative complex in aristotelian interpretation. (shrink)
Effort and Displeasure in People Who Are Hard of Hearing.Mohan Matthen - 2016 - Ear and Hearing 37:28S-34S.details
Listening effort helps explain why people who are hard of hearing are prone to fatigue and social withdrawal. However, a one-factor model that cites only effort due to hardness of hearing is insufficient as there are many who lead happy lives despite their disability. This paper explores other contributory factors, in particular motivational arousal and pleasure. The theory of rational motivational arousal predicts that some people forego listening comprehension because they believe it to be impossible and hence worth no effort (...) at all. This is problematic. Why should the listening task be rated this way, given the availability of aids that reduce its difficulty? Two additional factors narrow the explanatory gap. First, we separate the listening task from the benefit derived as a consequence. The latter is temporally more distant, and is discounted as a result. The second factor is displeasure attributed to the listening task, which increases listening cost. Many who are hard of hearing enjoy social interaction. In such cases, the actual activity of listening is a benefit, not a cost. These people also reap the benefits of listening, but do not have to balance these against the displeasure of the task. It is suggested that if motivational harmony can be induced by training in somebody who is hard of hearing, then the obstacle to motivational arousal would be removed. This suggests a modified goal for health care professionals. Don't just teach those who are hard of hearing how to use hearing assistance devices. Teach them how to do so with pleasure and enjoyment . (shrink)
Comments on Gauker's Word and Image.Mohan Matthen - 2015 - Analysis 75 (1):83-99.details
Christopher Gauker argues that no concept can be extracted from perceptual experience and that imagistic thought cannot draw boundaries between one kind and another. Here, it is argued, on the contrary, that images have extension and are consequently Fregean concepts. Hume's theory of abstraction as indifference is offered as an account of extra-sensory concepts. Finally, it is argued that modern theories of sensory data processing run parallel to Kant's idea of synthesis as a pre-condition for perception.
Realism, Relativism, Adverbialism: How Different Are They? Comments on Mazviita Chirimuuta's Outside Color.Mohan Matthen - 2017 - Philosophy and Phenomenological Research 95 (1):236-243.details
Mazviita Chirimuuta proposes a new "adverbialist" ontology of color. I argue that ontological disputes in the philosophy of color are uniformly terminological. Chirimuuta's proposal too is a terminological variant on others, though it has some hortatory value in directing attention to aspects of color science that have hitherto been neglected. On a side note, I also take issue with Chirimuuta's laudatory take on early modern theories of color.
Eye Candy.Mohan Matthen - 2014 - Aeon 5.details
This is a short popular version of my views on aesthetic pleasure published in the online magazine, Aeon.
Art, Sexual Selection, Group Selection (Critical Notice of Denis Dutton, The Art Instinct).Mohan Matthen - 2011 - Canadian Journal of Philosophy 41 (2):337-356.details
The capacity to engage with art is a human universal present in all cultures and just about every individual human. This indicates that this capacity is evolved. In this Critical Notice of Denis Dutton's The Art Instinct, I discuss various evolutionary scenarios and their consequences. Dutton and I both reject the "spandrel" approach that originates from the work of Gould and Lewontin. Dutton proposes, following work of Geoffrey Miller, that art is sexually selected--that art-production is a sign of a fit (...) genome in males. I argue that while assortative mating may well have had a role in the evolution of "the art instinct", group selection is a better explanation. I also take issue with Dutton's "cluster concept" approach to defining art, and argue that it is a universal and essential characteristic of art that it is appreciated both for what it expresses and for the way that it expresses. It thus requires a reflexive capacity that is not operative in the appreciation of sport spectacles and pornography. (shrink)
Unique Hues and Colour Experience.Mohan Matthen - forthcoming - In Fiona Macpherson & Derek Brown (eds.), Routledge Handbook of the Philosophy of Colour.details
In this Handbook entry, I review how colour similarity spaces are constructed, first for physical sources of colour and secondly for colour as it is perceptually experienced. The unique hues are features of one of the latter constructions, due initially to Hering and formalized in the Swedish Natural Colour System. I review the evidence for a physiological basis for the unique hues. Finally, I argue that Tye's realist approach to the unique hues is a mistake.
Visual Concepts.Mohan Matthen - 2005 - Philosophical Topics 33 (1):207-233.details
Perceptual content is conceptual. In this paper, some arguments against this thesis are examined and rebutted. The Richness argument, that we could not have concepts for all the colours, is queried: Doesn't the Munsell system give us such concepts? The argument that we can perceive colours and shapes without possessing the relevant concepts is rebutted: we cannot do this, but the kind of concept-possession that is relevant here is not intellectual but perceptual.
Representationalism Defended.Mohan Matthen - manuscriptdetails
This is a comment on Frances Egan's paper, "How to Think About Mental Content." Egan distinguishes mathematical and cognitive content; she accepts the former and rejects the latter. In this comment, which was delivered at the Oberlin Colloquium in 2012, I defend cognitive content.
Review of Fairweather and Montemayor, Knowledge, Dexterity, and Attention. [REVIEW]Mohan Matthen - 2017 - Notre Dame Philosophical Reviews 201712.details
In common with many other "virtue epistemologists," Abrol Fairweather and Carlos Montemayor contend that in order to count as knowledge, a mental state must be the product of truth-apt dispositions. I question their theoretical motivations. First, I note that unlike virtue ethics, affect is irrelevant to knowledge. A generous act is arguably better if it is performed warm-heartedly, but a belief is no more creditable if it is performed with the right affect. Second, I argue that non-discursive skills are better (...) cases for virtue epistemologists than cognitive reliability—but because it is hard to know how skills work in individual instances of belief-formation, they cannot figure in the accreditation of knowledge. Finally, I argue that the oughts that attend inquiry (e.g., "you ought to look into this carefully") come from outside the context of inquiry. (shrink)
Holistic Methods in Aristotle's Cosmology.Mohan Matthen - 2001 - In David Sedley (ed.), Oxford Studies in Ancient Philosophy: Volume Xx Summer 2001. Clarendon Press.details
In Aristotle's cosmology, the nature of the elements is defined by their place in the Totality. Their cosmic motions keep the whole in motion, and this is their nature. Thus, the cosmos is an organized whole, a single substance directed to the good; this body constitutes together with its Prime Mover a composite substance that can be regarded as a self-mover.


Or rather, a very early version of the first preview that we're hoping to release somewhere next month. This code isn't available for you guys to test out so you'll have to do with our board. Now, not much has changed on the front-end, we only included the visual changes to make it more obvious who was running Luna 2.0 when we would release the first preview.
The real work is being done in the Backstage. As many of you know, we're rebuilding the Backstage from scratch as a stand-alone component during the first preview. Lot's of work has been done already, but there is still plenty more to come. Stay tuned for more news about the full Preview 1 release on our blog.
However, because there aren't any changes, doesn't mean that there might not be any bugs, and I would like to know everything about them. So tell me, here, in this thread.
Also, people that have been using accents might notice that they are thrown back to the default blue. That's because the accent system has temporarily been dropped. It will be back soon!
Many features will improve Luna's interface. However, You yourself know better know is it effective or not.
Go to a forum. There are 2 dots between the date and the number of comments.
I like the way that Luna is going in, seriously keep up the great work! It's insane to see the major difference from ModernBB to Luna 1.x and now to 2.x. The newest version makes everything feel so flat but it all works together in a really nice way.
Only thing I could ask for is to maybe increase the space between posts since right now they stack it's hard to skim through and see where one post ends compared to the next. Just an opinion, something I guess people could do (editing the templates) if required or wanted.
In the light of the 1.4 Emerald update, we've temporarily downgraded the forum to Luna 1.4.
Yannick, What's wrong with profile pirctures? I cannot see them today.
As mentioned in the 1.4-thread. This is a known issue and is being worked on. Actually, I'm not working on it, that is already fixed, will have to wait until I push an update to the forums.


She is the daughter of Mah Monir Soroush Azar, an interior designer, and.Prague Giant Metronome— A huge monument erected to replace the Stalinistic monument.Hi I need some help please I kept getting a warning about a Trojan virus that had affected my computer so as usual i did what avast antivirus told me to do and.Watercolours MONKEY MATERIAL TERMS OF INDIAN FLAG Brambles Metronome CUP SCHEDULE SCISSORS. 41-81 Yenisei 163 82 33 Yerevan 489-51-44 Zaryadye 298 56 92.
Atlanta, GA Fiddle Lessons. pattern recognition, how to work with a metronome from.
List of Top Websites Like Rynetees.com. premium quality gifts shop in yerevan,. restaurant gift certificates,.
Other credits include patenting and producing a new metronome,.
Coffeeshop Company is one of the best and most popular coffee houses in the world.Visit the huge metronome which was once the place of the largest statue of.
Take a class with a range of specialized teachers in exchange for basic items and services.
While munching on some crispy shrimp tacos at a chain restaurant yesterday,.FAST - Foundation for Armenian Science and Technology, Sherep Restaurant, AGBU.Supporters of opposition lawmaker Nikol Pashinyan protest in Republic Square in Yerevan, Armenia.Live streets view, Yerevan, June 08, video-1, Abovyan, Metronom.
Metronome is a shopping center in the center of Yerevan city, in this shopping center you can find everything bags and shoes, women clothes, men clothes, children.
Eight people have been injured by the explosion of a pressurized canister at a Burger King restaurant in the Armenian capital of Yerevan, police said.Mnemonics -Rembering Based on Visual Thinking. the table with a metronome. but the fact that. 41-81 Yenisei 163 82 33 Yerevan 489-51-44 Zaryadye 298.CommunityBuzz - LAST CHANCE: Who Will Be The Next FlyerTalk Member To Fly Free To Amsterdam? - No routing change allowed.The hotel features Bacchus Restaurant and Wine Bar, perfect for pre- and post-concert dining.Early life Sarah Shahi was born on January 10, 1980, in Euless, Texas, and raised there.
Amazing place it would be good to see this shopping Mall next time I visit Yerevan Armenia. Thanks.
The modern host clubs are similar establishments where primarily male staff adhere to females.The ATM has been set up at a burger restaurant in the heart of the Georgian.But a restaurant will often add this charge to your bill in a less up.
A bill to regulate cryptocurrency mining was introduced in Yerevan in February.
Armen received his B.A.and M.A. degrees from Yerevan State Conservatory in. Secure a spot in a TradeSchool class by meeting one of the teachers barter.
Raffles Hotel is a colonial-style luxury hotel in Singapore. yerevan, the modern capital.


text:
http://No.1 The Mint
M Lambe Construction Ltd, No 1 The Mint, 94 Icknield Street, Hockley, Birmingham, West Midlands, United Kingdom, B18 6RU
I am inspired by M. Lambe Construction Limited's accomplishment
M. Lambe Construction Limited have been awarded a 2020 2 star accreditation by Best Companies, with a BCI of 712.5. Companies like this are truly inspirational and are leading the way in helping make the world a better workplace.
Check out M. Lambe Construction Limited's profile here: https://www.b.co.uk/company-profile/?utm_source=LinkedIn&utm_medium=SocialMedia&utm_campaign=ShareCompanyProfiles&M.-Lambe-Construction-Limited-104083
I work at M. Lambe Construction Limited
M. Lambe Construction Limited have been awarded a 2020 2 star accreditation by Best Companies, with a BCI of 712.5. As somebody that works for this company, I'm proud to say that it's thoroughly deserved.
https://www.b.co.uk/company-profile/?utm_source=LinkedIn&utm_medium=SocialMedia&utm_campaign=ShareCompanyProfiles&M.-Lambe-Construction-Limited-104083
About M. Lambe Construction Limited
With over 30 years experience, M. Lambe Construction has built a reputation for providing 'best of breed' civil engineering solutions to a variety of clients across the Midlands.
M. Lambe Construction provide services including: pre-construction, groundworks, earthworks, enabling works, land remediation and road installation.
They look to recruit and develop incredible people to add even more expertise to their already stellar team. To attract the most talented graduates from University, they have partnered with the University of Warwick and the University of Derby. They hope to raise awareness of M. Lambe Construction to students who are currently taking a degree in civil engineering.
The organisation have recently introduced an upgraded quality award for 'best examples' of quality workmanship. The 'Top Performers Quality Award' is designed to recognise and reward outstanding performance, which has helped them stand apart from their competition.
Each month, the best submissions from the 'Quality Awards' are compiled into a best practice manual for the whole business. The aim being to set the standard of workmanship and housekeeping on all sites.
What is it like to work for M. Lambe Construction Limited
This organisation has a strong social conscience
Significant investment has been made in a training facility to provide young job seekers with the opportunity of a career in civil engineering. Unlike other training providers, their apprentices draw on the experience of members of their site teams in an environment that seeks to re-create site conditions in a safe and controlled manner.
I feel proud to work for this organisation
The company have recently introduced a family fun day where all employees, along with their partner and children, were invited to attend. The event was funded by the M Lambe Construction and included a range of multiple participation activities that were perfect for all ages, including kid's games, BBQ, crazy golf, wipeout, pole joust and a football shoot out.
The company have recently introduced an upgraded quality award for 'best examples' of quality workmanship. The Top Performers Quality Award is designed to recognise and reward gangs for outstanding performance, which has helped them stand apart from their competition. Each month, the best submissions from the Quality Awards are compiled into a Best Practice Manual for the whole business. The aim being to set the standard of workmanship and housekeeping on all sites. Every member of the winning gang now receives £300.
Companies offering a final salary scheme to all employees, or one in which the employer's contribution is at least 5%


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Are you a victim of domestic violence or have you been served with a Domestic Violence Summons?
Sadly, domestic violence is widespread in today's society. Domestic violence covers a wide range of behaviours, including the following:-
Physical violence such as hitting, punching, biting and scratching;
Threats to harm either you or your relatives or friends;
Damage to your property;
Intimidating or frightening you;
Verbally and emotionally abusing you by yelling, name calling, criticising and making you feel worthless; or
Harassing you by, for example, following you constantly, telephoning, texting or emailing you.
You can be protected from domestic violence by applying to the Court for a Protection Order. A Protection Order can only be applied for if the person committing the violence has been in a domestic relationship with you, such as a husband or wife, de facto partner or former partner. If the person committing the violence is not in a domestic relationship with you it may be appropriate to apply for a Peace and Good Behaviour Order.
Once a Protection Order Application has been filed with the Court, the party accused of committing domestic violence will be served with the Application and a Court date set for both parties to appear. At that first Court date a Court will typically make a Temporary Protection Order which will stay in place until a Final Order is made. If the person accused of committing the domestic violence opposes the Protection Order Application, the Court will set the matter down for a trial where both parties will give evidence and a Magistrate will decide whether the Order should be made.
A Court will only make a Protection Order where you have been able to prove there has been domestic violence and it is likely that the violence will occur again.
A Protection Order is usually in place for two years, but can be as short as 6 months. If at the expiry of the Protection Order you still feel unsafe, you are able to apply to the Court to have it extended for a further period of time.
We have considerable experience in assisting people who wish to take out Protection Orders. We are also able to advise and defend those people who have had Protection Order Applications taken out against them. If you find yourself in either of these situations or have further questions regarding domestic violence then please do not hesitate to contact one of our experienced lawyers.
Family Court of Australia – Family Violence
Domestic Violence Hotline Queensland
Australian Government – Family and Domestic Violence


Q. Why do I need a property manager?
Some owners choose to manage their property themselves and are able do it well. However, you need to consider the time required to collect on-time rent, keep updated with legislation, arrange ongoing maintenance, organise viewings, select the best tenants and all this whilst maintaining a professional relationship and be on call to attend to such matters. In regards to insurance, some insurance companies will only cover a rental property if it is managed by a third party professional.
Most owners find the relatively small cost of hiring a professional to do the above – and more – is a great investment and a time saving exercise (plus it is tax deductible!). At Your Local realty, our professional property team focuses on increasing the value of your investment property and making your experience a rewarding one.
Q. How long will it take to find a tenant for my property?
Finding a suitable tenant is one of the most important tasks that an agent undertakes for owners. As a general rule, the better a property is presented and priced to the local market, the faster it will be tenanted. In addition, a good agent starts advertising the property immediately after the tenant advises that they are leaving.
Tenanting a property is all about Price, Presentation and Professionalism.
Price – Aiming for unrealistic rent will have your property sitting on the market for too long. Asking too little will undermine your return.
For example: You don't want to be in a situation where asking $360 per week is at the higher end of the rental value of your property. Even 4 weeks of vacancy (potential loss of $1,440) can impact on your bottom line. A price of $340 per week may be a more achievable amount, and over a year that be the difference of (gross) $400 on the presumption that this example property is leased with no days of vacancy.
Presentation – With a good amount of notice given to existing tenants and a history of clear and friendly communication with them, presentation will be at its premium.
Professionalism – We take great pride in low vacancy rates and we aim to maximise the rent per week you will receive. All of our staff will ensure our professionalism is always at it's highest.
As the exclusive onsite real estate agent for the Jacaranda Gardens complex, Your Local Realty is in the best position to understand the market and price accordingly.
Q. Do I need Landlord's Insurance for my property?
We strongly recommend that every investment property has a specific landlord insurance policy. to provide protection for loss of rent and damage to the property. Insurance also includes coverage for public liability and contents (for example, floor coverings, curtains, etc). Contact us for more information.
Q. What happens if my tenant doesn't pay rent?
Your Local Realty monitors our tenant arrears on a daily basis so as to minimise any potential loss to our owners. When a tenant is 1 day in arrears we will contact them via telephone, email and/or SMS to check if there's been an issue with payment. On the 7th day of arrears, a Notice to Remedy Breach will be issued, which provides 7 days to pay the rent. If rent is still not paid, the owner will be advised and, if agreeable, a Notice to Leave is issued to the tenant giving them a further 7 clear days to vacate the property.
Capital assets owned and used for producing income are depreciating assets - this includes investment properties. These types of assets decline in value over time and can be written off in the form of tax deductions, which could potentially save you thousands of dollars. Your Local Realty can refer you to consultants who can handle this for you, sometimes for a very low cost.
Q. What if I want to sell my property?
Your Local Property maintains a list of property investors who have indicated an interest in purchasing further properties. In addition, we have a network of agents who specialise in selling rental properties to investors. Contact us and we'll discuss the best way to sell your property.
Q. How should I know what my property will rent for?
Rent rates can be generally determined by comparing the property to other similar properties in the local area that are currently for rent or have just been rented. Owners can look at websites like www.realestate.com.au or ask us to provide a rent estimate.
Q: Can I charge my tenant for water consumption?
Yes, if your property is separately metered and is water efficient, owners can charge for water usage (not connection or account fees). We can arrange for the bill to be sent to us, which will be sent to the tenant for payment.
Q: Can Your Local Realty handle more than rental properties outside of its office at Jacaranda Gardens in Morayfield?
For clients with multiple properties in your portfolio, we are able to travel throughout Southeast Queensland so that all of your properties can be managed by the one agency. Contact us to discuss your personal requirements further.


Doug Cahill and Mark Bowker highlight multiple opportunities for businesses as they embrace ways to securely deliver applications and data to end-users in 2019.
In this ESG360 Video, ESG's Mark Bowker and Mark Peters discuss current issues and trends in the world of Enterprise Mobility.
ESG's Doug Cahill and Mark Bowker provide their thoughts and predictions on Mobility for 2018.


Earlier this year I got injured pretty innocuously while playing football – the ball got played over the top of the opposition defence, I was through on goal with only the on-rushing keeper to beat. The ball bouncing quite high and I stretched my leg as high into the air as high possible (ie not very high at all), failing to make contact with it as the keeper took an easy catch. I then planted my foot, with my leg completely straight and my momentum taking me forward. My knee was pushed inversely – with my leg trying to bend in the opposite way it was meant to. I'd hyper-extended it. I knew straight away something was wrong, subbed myself and haven't played since. Initial diagnosis was that I had torn my meniscus (the cartiliage in my knee), however after taking part in physiotherapy this was not the case.
I was later diagnosed with a partial tear of my Anterior Cruciate Ligament (ACL) – probably the most important part of your knee (except for the wonder that is the kneecap). The ACL connects your femur to your tibia, while latter traversing over the former – essentially it is what keeps your knee stable and stops it going in the wrong direction, especially up and down stairs, but it is also ridiculously important in football, when your knee is under extreme pressure from lots of stopping, starting, twisting and turning. If there's one part of your body you don't want to injure if you enjoy playing football, it was be this. I was devastated, a lot of professional footballers struggled to come back from this kind of injury, how the hell was little old me going to manage it? I undertook another course of physiotherapy, where I was repeated told that I'd most likely never play again. Physiotherapy went really well and as the weeks went on I felt better and better, the knee being able to take more of a pounding. I was given permission to take part in a light training session with my football team, and I did so, and felt great – I was twisting and turning, took part in the whole session and even bagged a couple of goals too. Even immediately afterwards I felt I'd been pushed hard but still felt great. Then I woke up the next day, the knee had swollen, the pain was back and I was back to where I had been six months previous.
Another trip to another specialist and another MRI showed that I had a build up of fluid around the knee cap – the reason being that although the physiotherapy had gone well I still didn't have complete extension of my leg, which meant my femur was rubbing against my knee cap, causing the build up of fluid. I went away and did some physio on my own and two months later visited the specialist again, everything looked great and the diagnosis of a tear had be downgraded to a sprain. "Brilliant!" I thought, "I'm going to make it back!". Within 10 minutes, my heart was on the floor again. The specialist was a really good guy, patient, kind but realistic, and told me that he'd advise me against ever playing again. I sat there, pretty adamant that I'd like to try and get back, even if it's going to take some seriously hard work to do so. He referred me to a lady in London that works for a company called Bauerfeind, a Dutch company that specialises in sports-injury supports. She put me onto a guy called Simon at Harley Street – apparently a former professional footballer so hopefully he'll understand where I'm coming from and be able to help. I also spoke to a Physio at a Football League club who says there is no reason why I can't get back to playing, but it's going to be a lot of hard work – and that's fine by me! I'm off to Harley Street soon to get measured up for the GenuTrain® S Pro, but only once I've built up the muscle in my thigh.
I know I've been told many time that I won't ever play again, but I can't just accept that it is the case. I'm on 149 appearances for my Sunday team (and 51 goals), and I'm not ready to give up quite yet, and quite honestly I'd be an awful manager.
One can only wish a swift recovery.


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Home Culture Entering the Yali Tribe
Entering the Yali Tribe
Where waters run wild and forests grow free, there are groups of people who live alongside Nature in perfect harmony. Tribes across the world have always been a keen point of interest, conjuring up curiosities of how they live, worship, speak, dress, and what they eat.
In our upcoming issue, The Wood Edition, featuring Asian Tribes, we immerse ourselves in Yali life in the village of Angurruk, in West Papua, Indonesia, through street photographer Alain Schneuwly, who brings us to the people and their traditions. Join us on the mountain paths from Angurruk to Kurima, along the trails taken by the Yali people who walk for several days to connect with the rest of the world.
"The air strip was first built in the early 1960s by missionaries and is served by chartered planes to bring supplies and health services to these distant tribes communities in the Yali country. It takes about 25 minutes from Wamena in the Baliem valley to reach Angurruk by air and about 4-5 days walk through the mountains."
Angurruk – Just outside the village school a group of students pause with a traditionally dressed Yali man. The satellite dish behind is an attempt to connect to the rest of the world when solar power is available through rechargeable batteries, the only viable source of electricity in these remote mountains. Fuel powered generators are not a option as flown-in benzin costs 5 times as much as in Wamena
While 90 percent of men have abandoned their koteka and rattan skirt, the older generation wears it all the time
For many years, Alain had his eyes on a remote part of Indonesia called West Papua where
tribes still live today traditionally, isolated from the modern world we know. They inhabit mountains above 1,500 metres, reachable only by chartered plane or after several days walking through difficult terrain.
Few people have travelled here, but the rare photographs he saw and stories he read on these highlands tribes always inspired him greatly. Read more about the Yali People, and Alain's adventure in our upcoming issue, The Wood Edition.
If you have wondered about the tribes of Asia, look no further. ASIAN Geographic's latest Issue 2/2020, The Wood Edition will bring you high into the mountains and deep into the jungles where unique tribes dwell. You can buy a copy here or download a digital copy here!
Alain Schneuwly is a street photographer based in Singapore since 2010. Over the last 30 years, he has had the opportunity to travel and photograph the cities of London, New York, Singapore, Hong Kong, Shanghai and Morocco; the tribes of West Papua; and recently in North Korea. Street photography has enabled him to capture the world around him candidly, without constraints, and to express his emotions and share his view of the world as a simple witness. You can see more of Alain's work here.
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