This review of Julian Barbour's The End of Time ([1999]) discusses his Machian theories of dynamics, and his proposal that a Machian perspective enables one to solve the problem of time in quantum geometrodynamics, viz. by saying that there is no time! 1 Introduction 2 Machian themes in classical physics 2.1 The status quo 2.2 Machianism 2.2.1 The temporal metric as emergent 2.2.2 Machian theories 2.2.3 Assessing intrinsic dynamics 3 The end of time? 3.1 Time unreal? The classical case 3.1.1 (...) Spontaneity 3.1.2 Barbour's vision: time capsules 3.2 Evidence from quantum physics? 3.2.1 Mott scattering as a model for time capsules 3.2.2 Solving the problem of time? (shrink)

In this multi-disciplinary investigation we show how an evidence-based perspective of quantification---in terms of algorithmic verifiability and algorithmic computability---admits evidence-based definitions of well-definedness and effective computability, which yield two unarguably constructive interpretations of the first-order Peano Arithmetic PA---over the structure N of the natural numbers---that are complementary, not contradictory. The first yields the weak, standard, interpretation of PA over N, which is well-defined with respect to assignments of algorithmically verifiable Tarskian truth values to the formulas of PA under the interpretation. (...) The second yields a strong, finitary, interpretation of PA over N, which is well-defined with respect to assignments of algorithmically computable Tarskian truth values to the formulas of PA under the interpretation. We situate our investigation within a broad analysis of quantification vis a vis: * Hilbert's epsilon-calculus * Goedel's omega-consistency * The Law of the Excluded Middle * Hilbert's omega-Rule * An Algorithmic omega-Rule * Gentzen's Rule of Infinite Induction * Rosser's Rule C * Markov's Principle * The Church-Turing Thesis * Aristotle's particularisation * Wittgenstein's perspective of constructive mathematics * An evidence-based perspective of quantification. By showing how these are formally inter-related, we highlight the fragility of both the persisting, theistic, classical/Platonic interpretation of quantification grounded in Hilbert's epsilon-calculus; and the persisting, atheistic, constructive/Intuitionistic interpretation of quantification rooted in Brouwer's belief that the Law of the Excluded Middle is non-finitary. We then consider some consequences for mathematics, mathematics education, philosophy, and the natural sciences, of an agnostic, evidence-based, finitary interpretation of quantification that challenges classical paradigms in all these disciplines. (shrink)

In this multi-disciplinary investigation we show how an evidence-based perspective of quantification---in terms of algorithmic verifiability and algorithmic computability---admits evidence-based definitions of well-definedness and effective computability, which yield two unarguably constructive interpretations of the first-order Peano Arithmetic PA---over the structure N of the natural numbers---that are complementary, not contradictory. The first yields the weak, standard, interpretation of PA over N, which is well-defined with respect to assignments of algorithmically verifiable Tarskian truth values to the formulas of PA under the interpretation. (...) The second yields a strong, finitary, interpretation of PA over N, which is well-defined with respect to assignments of algorithmically computable Tarskian truth values to the formulas of PA under the interpretation. We situate our investigation within a broad analysis of quantification vis a vis: * Hilbert's epsilon-calculus * Goedel's omega-consistency * The Law of the Excluded Middle * Hilbert's omega-Rule * An Algorithmic omega-Rule * Gentzen's Rule of Infinite Induction * Rosser's Rule C * Markov's Principle * The Church-Turing Thesis * Aristotle's particularisation * Wittgenstein's perspective of constructive mathematics * An evidence-based perspective of quantification. By showing how these are formally inter-related, we highlight the fragility of both the persisting, theistic, classical/Platonic interpretation of quantification grounded in Hilbert's epsilon-calculus; and the persisting, atheistic, constructive/Intuitionistic interpretation of quantification rooted in Brouwer's belief that the Law of the Excluded Middle is non-finitary. We then consider some consequences for mathematics, mathematics education, philosophy, and the natural sciences, of an agnostic, evidence-based, finitary interpretation of quantification that challenges classical paradigms in all these disciplines. (shrink)

This article aims at displaying the epistemological statements within the history of biological sciences which prepared the terrain for the mind opening of the scientists and physical opening of laboratories, giving place to the consolidation of bio-art. In this manner, we intend to analyze the surge of biotechnology inside a complex interwoven political, economic and social context, where knowledge is complemented in the scientific field, generating a light of consciousness about the method fertility and blind specialization. Acknowledging weaknesses serves as (...) a feasibility condition for the involvement of artistic actors who work with the same materials, challenging the traditional logics, questions and goals of the scientific task. The article in itself belongs to the inter-disciplinary research carried out within the framework of the doctoral thesis of the undersigning, entitled “Art and Science: the Argentinean bio-artistic practice in its relation with the international scene”. (shrink)

The wicked problems that constitute sustainability require students to learn a different set of ethical skills than is ordinarily required by professional ethics. The focus for sustainability ethics must be redirected towards: (1) reasoning rather than rules, and (2) groups rather than individuals. This need for a different skill set presents several pedagogical challenges to traditional programs of ethics education that emphasize abstraction and reflection at the expense of experimentation and experience. This paper describes a novel pedagogy of sustainability ethics (...) that is based on noncooperative, game-theoretic problems that cause students to confront two salient questions: “What are my obligations to others?” and “What am I willing to risk in my own well-being to meet those obligations?” In comparison to traditional professional ethics education, the game-based pedagogy moves the learning experience from: passive to active, apathetic to emotionally invested, narratively closed to experimentally open, and from predictable to surprising. In the context of game play, where players must make decisions that can adversely impact classmates, students typically discover a significant gap between their moral aspirations and their moral actions. When the games are delivered sequentially as part of a full course in Sustainability Ethics, students may experience a moral identity crisis as they reflect upon the incongruity of their self-understanding and their behavior. Repeated play allows students to reconcile this discrepancy through group deliberation that coordinates individual decisions to achieve collective outcomes. It is our experience that students gradually progress through increased levels of group tacit knowledge as they encounter increasingly complex game situations. (shrink)

“Time Capsule” is a work-experience that lies somewhere between a local eventinstallation, a site-specific work in which the site itself is both my body and a remote database, a simulcast on TV and the Web, and interactive webscanning of my body. The live component of the piece was realised on November 11, 1997, in the context of the exhibition “Arte Suporte Computador”, at the cultural centre Casa da Rosas, in Sao Paulo, Brazil. “Time Capsule” was carried live on the evening (...) newscast of the TV station Canal 21 and on tape by two other TV stations (TV Manchete and TV Cultura). The webscast was transmitted by Casa das Rosas.The object that gives the piece its title is a microchip that contains a programmed identification number and that is integrated with a coil and a capacitor, all hermetically sealed in biocompatible glass. The temporal scale of the work is stretched between the ephemeral and the permanent; i.e., between the few minutes necessary for the completion of the basic procedure, the microchip implantation, and the permanent character of the implant. As with other underground time capsules, it is under the skin that this digital time capsule projects itself into the future. (shrink)

In 1997, I introduced the concept and the phrase “bio art”, originally in relation to my artwork “Time Capsule”. This work approached the problem of wet interfaces and human hosting of digital memory through the implantation of a microchip. The work consisted of a microchip implant, seven sepia-toned photographs, a live television broadcast, a webcast, interactive telerobotic webscanning of the implant, a remote database intervention, and additional display elements, including an X-ray of the implant. While “bio art” is applicable to (...) a large gamut of in vivo works that employ biological media, made by myself and others, in 1998, I started to employ the more focused term “transgenic art”. Republished in Ars Electronica ‘99—Life Science, ed. Gerfried Stocker and Christine Schopf, 289–296.) to describe a new art form based on the use of genetic engineering to create unique living beings. Art that manipulates or creates life must be pursued with great care, with acknowledgment of the complex issues it raises and, above all, with a commitment to respect, nurture, and love the life created. I have been creating and exhibiting a series of transgenic artworks since 1999. I have also been creating bio art that is not transgenic. The implications of this ongoing body of work have particular esthetic and social ramifications, crossing several disciplines and providing material for further reflection and dialog. What follows is an overview of theses works, the issues they evoke, and the debates they have elicited. (shrink)

Julie Taymor is an exemplary artist who has successfully made the transition from avant-garde director of live theatre in the 1980s to become a Broadway director for Disney Corporation with The Lion King, and, more recently, a film director with Sony’s nostalgic look at the music of the Beatles in Across the Universe. Highlights of her career—spanning the latter half of the twentieth century—offer excellent examples of the changes in the economics of creativity and artistic labor for a case study (...) in cultural and aesthetic values under global capitalism. Through interviews, newspapers and financial annual reports, specific moments in Taymor’s oeuvre reveal key distinctions between cultural and intercultural values, between aesthetic and financial exchange values, and highlight themes and limitations in the legacy of the Marxist labor theory of value. (shrink)

The reconceptualisation of school placement (Teaching Council, 2013) poses a challenge to initial teacher education in Ireland. Some criticised the timing (Mulcahy and McSharry, 2013). Others considered it to be too great a professional leap (O’Grady, 2017). This study sought to explore if and how cooperating teachers could develop as mentors in the Irish context, through engagement in a ‘participatory action learning action research’ (PALAR) ‘mentoring community of practice’ (M-CoP). Qualitative data collection methods included: questionnaires with stimulus recall, pre-workshop questions, (...) workshop observation, workshop artefacts, reflective journals, learning journey plans, and extended focus group discussions. Data were analysed via constant comparison of codes and categories. CTs reported that their transformed practice as a mentor and a leader was achieved due to the multi-process, meta-pedagogical, meta-model design of the PALAR M-CoP. They indicated that the meta-model enhanced their fluency in the ‘language of critique’ enabling them to identify and become exercised about a range of complex barriers to growth. It also developed their fluency in the languages of ‘possibility’ and ‘leadership for change and empowerment’, which aided them to cope with, and overcome barriers to growth, resulting in the empowerment of themselves and other school placement partners. (shrink)

This paper links the conjecture that the physical world is a virtual reality to the findings of modern physics. What is usually the subject of science fiction is here proposed as a scientific theory open to empirical evaluation. We know from physics how the world behaves, and from computing how information behaves, so whether the physical world arises from ongoing information processing is a question science can evaluate. A prima facie case for the virtual reality conjecture is presented. If a (...) photon is a pixel on a multi-dimensional grid that gives rise to space, the speed of light could reflect its refresh rate. If mass, charge and energy all arise from processing, the many conservation laws of physics could reduce to a single law of dynamic information conservation. If the universe is a virtual reality, then its big bang creation could be simply when the system was booted up. Deriving core physics from information processing could reconcile relativity and quantum theory, with the former how processing creates the space-time operating system and the latter how it creates energy and matter applications. (shrink)

The influence technology has on human subjectivity has been the occupation of philosophy for some time. Recent technological advance has re-motivated the speculation on subjectivity where a bodily dimension of subjectivity becomes necessary to understand the complexities of subjectivity as it is formulated in contemporary society. In this thesis subjectivity has been schematized according to its states relative to the body to demonstrate how technology and its mythologies influences and define individual subjectivity and the larger constructive factors that shape that (...) subjectivity. Various examples are used to show the contemporary postmodern response to technological subjective imposition as subjectivity both negotiates and responds to the four orders of subjectivity: dormant, active, material, and terminal. As shall be demonstrated, each subjective form is constituted by a series of technologies and mythologies that form a reciprocal and continuous pattern illustrated by individual, cultural, bodily, and communicative models. (shrink)