Objective: Eye injuries are one of the leading causes of disabling ocular morbidity. The objective of this bibliometric study was to evaluate the top 100 cited articles on ocular trauma published between 1975 and 2018 via multidimensional citation analysis. Methods: We analyzed the top 100 cited articles among 3,768 ocular trauma articles published between 1975 and 2018; these articles were obtained from the databases in Web of Science and PubMed based on their citation rates per article, publication years, countries of (...) origin, institutions or organizations, the most common subjects, funding status, article types, and levels of evidence. The data obtained were analyzed with the SPSS® 20.0 software package program. Results: In the top 100 cited articles on ocular trauma, the total number of authors was 420 and the average authorship was 4.20±2.23 (range: 1–14). In our study, 70 of the top 100 cited articles were published in journals with an impact factor (IF) of ≥2.00 (range: 2.016–8.806), and Q index or quartile score of these journals was mostly Q1. Although the most preferred journal was Ophthalmology according to the total number of citations and articles (n=2,183 and n=23, respectively), Eye was the most preferred journal according to the mean number of citations per article. Besides, the three most common topics among the top 100 cited articles were mechanical eyeball injury (40 articles), epidemiology of ocular trauma (19 articles), and traumatic eye infection (17 articles). The average level of evidence was found to be 3.14±0.66 (range: 1–4), and the mean number of citations per article was the highest level at 2. Moreover, we also found that the most commonly preferred article type by authors was clinical research (92 articles), and most of them were in the B level of evidence group (70 articles). Conclusion: Analysis of the top 100 most cited articles on ocular trauma as an update study can provide us scientific contributions and vital current data in clinical implementations. (shrink)

A commissioned article about philosopher of ecology Levi Bryant, and his theory of urban space.

Formalizing commonsense knowledge for reasoning about time has long been a central issue in AI. It has been recognized that the existing formalisms do not provide satisfactory solutions to some fundamental problems, viz. the frame problem. Moreover, it has turned out that the inferences drawn do not always coincide with those one had intended when one wrote the axioms. These issues call for a well-defined formalism and useful computational utilities for reasoning about time and change. Yoav Shoham of Stanford University (...) introduced in his 1986 Yale doctoral thesis an appealing temporal nonmonotonic logic and identified a class of theories, causal theories, which have computationally simple model-theoretic properties. This paper is a study towards building upon Shoham's work on causal theories. We concentrate on improving computational aspects of causal theories while preserving their model-theoretic properties. (shrink)

We extend causal theories and study actions in domains involving multiple agents. Causal theories, invented by Yoav Shoham, are based on a temporal nonmonotonic logic and have computationally tractable aspects. Since Shoham's formalism does not provide an adequate mechanism for representing simultaneous actions and specifying their consequences, we introduce the notion of counteractions while preserving the efficiency and model-theoretic properties of causal theories.

After a review of situation theory and previous attempts at 'computational' situation theory, we present a new programming environment, BABY-SIT, which is based on situation theory. We then demonstrate how problems requiring formal temporal reasoning can be solved in this framework. Specifically, the Yale Shooting Problem, which is commonly regarded as a canonical problem for nonmonotonic temporal reasoning, is implemented in BABY-SIT using Yoav Shoham's causal theories.

Recently, there have been some attempts towards developing programming languages based on situation theory. These languages employ situation-theoretic constructs with varying degrees of divergence from the ontology of the theory. In this paper, we review three of these programming languages.

Serious thinking about the computational aspects of situation theory is just starting. There have been some recent proposals in this direction (viz. PROSIT and ASTL), with varying degrees of divergence from the ontology of the theory. We believe that a programming environment incorporating bona fide situation-theoretic constructs is needed and describe our very recent BABY-SIT implementation. A detailed critical account of PROSIT and ASTL is also offered in order to compare our system with these pioneering and influential frameworks.

While situation theory and situation semantics provide an appropriate framework for a realistic model-theoretic treatment of natural language, serious thinking on their 'computational' aspects has just started. Existing proposals mainly offer a Prolog- or Lisp-like programming environment with varying degrees of divergence from the ontology of situation theory. In this paper, we introduce a computational medium (called BABY-SIT) based on situations. The primary motivation underlying BABY-SIT is to facilitate the development and testing of programs in domains ranging from linguistics to (...) artificial intelligence in a unified framework built upon situation-theoretic constructs. (shrink)

Situation theory has been developed over the last decade and various versions of the theory have been applied to a number of linguistic issues. However, not much work has been done in regard to its computational aspects. In this paper, we review the existing approaches towards 'computational situation theory' with considerable emphasis on our own research.

While situation theory and situation semantics provide an appropriate framework for a realistic model-theoretic treatment of natural language, serious thinking on their 'computational' aspects has only recently started. Existing proposals mainly offer a Prolog- or Lisp-like programming environment with varying degrees of divergence from the ontology of situation theory. In this paper, we introduce a computational medium (called BABY-SIT) based on situations. The primary motivation underlying BABY-SIT is to facilitate the development and testing of programs in domains ranging from linguistics (...) to artificial intelligence in a unified framework built upon situation-theoretic constructs. (shrink)

We describe a novel approach to the analysis of pronominal anaphora in Turkish. A computational medium which is based on situation theory is used as our implementation tool. The task of resolving pronominal anaphora is demonstrated in this environment which employs situation-theoretic constructs for processing.

Planlama --- bir amaca ulaşmak üzere bir aksiyonlar bütünü tasarlamak --- yapay zekadaki en temel problemlerden biridir. Bu yazıda, robotikte planlama konusuna mantıkçı (logicist) yaklaşım ele alınmaktadır. [Planning --- devising a plan of action to reach a given goal --- is a fundamental problem in AI. This paper reviews the logicist approach to planning in robotics.].

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...) “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (shrink)

Review of Charles Ray's recent show, Figure Ground, at The Metropolitan Museum of Art.

Review of Gerhard Richter's work on randomness in his recent abstract art paintings, compared with John Cage's work on randomness; the review asks about what randomness in representation qua art amounts to.

Walter Benjamin’s oft-quoted 1936 essay “The Work of Art in the Age of Its Technological Reproducibility” advances the claim that, for the first time in history, the “function” of the work of art is political, as evidenced by cinema. For Benjamin, film is the “first art form whose artistic character is entirely determined by its reproducibility” and Giorgio Agamben, a contemporary Benjaminian philosopher, further elucidates this “function,” positing that cinema essentially ranks with ethics and politics, not solely with aesthetics, and, (...) consequently, is proximate to philosophy itself. Whereas Deleuze’s Cinema books posed cinema as enacting time in a pure state, Agamben, in his “Notes on Gesture,” breaches from Deleuze’s spatial and cartographic theory of cinema, drawing on Guy Debord’s “détournement via montage,” Simone Weil’s “decreation” and, perhaps most implicitly, from Benjamin. Agamben’s political theory of cinema, motivated by cinema’s “stoppage and repetition of time,” is directly informed by Benjamin’s: “optical unconscious,” appropriation of Brecht’s “social Gestus,” and the relationship between technological reproducibility and aura. Agamben’s “gesture” fastens cinema’s aesthetics not only to ethics and politics, but to the “ontological consistency of human experience,” or to a way of being. (shrink)

Over the last thirty years, once staunchly historical cinema scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, and André Gaudreault have abandoned history for historiography and film studies for media archaeology. With increasing attention on the “database” as a symbolic metaphor for postmodernity and the decentered, networked tenants of the global present, cinema is taking on the characteristics of new media, existing in intertextual space. Thus, the term “post-cinema” has been co-opted as a viable intermediary that accounts for new (...) media conditions, as cinema is no longer emblematic of our cultural climate. As Giorgio Agamben wrote in 1992, “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema…human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere." Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. (shrink)

A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.

This paper looks at dialectical inferences as they relate to Hegel’s modal metaphysics, closely examining the Actuality section of Hegel’s Science of Logic and positing a reading of Hegel’s modal actualism that engages with two strains of secondary commentary. Responding to commentators, we make the case that Hegel’s ‘das Logische’ avoids presupposing possibility’s being prior to actuality insofar as actuality and the derivation of possibility is considered as the in-itselfness of actuality, an implicit inner moment whereby actuality further determines itself. (...) Actuality is immediate yet derived as an identity from the logic of inner and outer. If actuality as immediacy is explicit/outer, then its opposition, its implicitness/innerness, has to be possibility in the logic of modality. In order to conceive of actuality as existence, and particularly as an emerging process, we must already conceive the problem of presupposing an alien form within the logic of actuality. (shrink)

As a philosophical paradigm, differential heterogenesis offers us a novel descriptive vantage with which to inscribe Deleuze’s virtuality within the terrain of “differential becoming,” conjugating “pure saliences” so as to parse economies, microhistories, insurgencies, and epistemological evolutionary processes that can be conceived of independently from their representational form. Unlike Gestalt theory’s oppositional constructions, the advantage of this aperture is that it posits a dynamic context to both media and its analysis, rendering them functionally tractable and set in relation to other (...) objects, rather than as sedentary identities. Surveying the genealogy of differential heterogenesis with particular interest in the legacy of Lautman’s dialectic, I make the case for a reading of the Deleuzean virtual that departs from an event-oriented approach, galvanizing Sarti and Citti’s dynamic a priori vis-à-vis Deleuze’s philosophy of difference. Specifically, I posit differential heterogenesis as frame with which to examine our contemporaneous epistemic shift as it relates to multi-scalar computational modeling while paying particular attention to neuro-inferential modes of inductive learning and homologous cognitive architecture. Carving a bricolage between Mark Wilson’s work on the “greediness of scales” and Deleuze’s “scales of reality”, this project threads between static ecologies and active externalism vis-à-vis endocentric frames of reference and syntactical scaffolding. (shrink)

Omnicide: Mania, Fatality and Future-in-Delirium (2019) finds Iranian-American philosopher and comparative literature theorist Jason Bahbak Mohaghegh carving the figure of the diffracted neo-Bedouin wanderer, whose mania we tail through the book’s haunted pages. The book’s namesake, “omnicide,” refers to the complete and total erasure of the Earth--the term has most recently been generally applied in ecological contexts, most markedly in regards to the Anthropocene and futurology. However, it is the explicitly poetic and literary intersection between mania and the grotesque that (...) Mohaghegh inches us towards, lifting omnicide from its proscriptive use in the Western philosophical/sociological tradition and goading it towards an unfamiliar cryptic terrain. Surveying ten contemporary Middle Eastern poets and fiction writers, including Sadeq Hedayat (Iran), Réda Bensmaia (Algeria), Samuel Adonis (Syria), Joyce Mansour (Egypt), Forugh Farrokhzad (Iran), Ibrahim al-Koni (Libya), Ahmad Shamlu (Iran), Ghada Samman (Lebanon), Mahmoud Darwish (Palestine) and Hassim Blasim (Iraq), Mohaghegh parses curious stanzas and plucks spectral paragraphs from myriad texts so as to navigate the largely occluded and excised narratives of the contemporary Middle Eastern philosophical-literary canon. Not only does Mohaghegh acuminate the multifaceted question of mania and its variegated networks, chambers, byways and sunken burrows--so as to juxtapose two different world literatures (East and West)--but Mohaghegh also illuminates this oeuvre to affront the Western psychoanalytic treatment of mania as an exclusionary vessel. Thus, despite Mohaghegh avoiding any explicit references to Western philosophers and scientists, both the codified dictum of the medical decree and the hyper-genealogical superlative tradition of Georges Canguilhem, Michel Foucault and their contemporaries rankle Omnicide’s annals. (shrink)

Giorgio Agamben's Creation and Anarchy is comprised of five meditative essays compiled over the last few years and presented as an anthologized collection. The initial few chapters' survey postmodern art qua divinity, with particular interest to a contradictory dialectic: inspiration and critique. Drawing from an idiosyncratic amalgam of thinkers–ranging from bastion thinkers such as Kant and Heidegger to zoologist Jacob von Ueküll and prescient media philosopher Gilbert Simondon–Agamben carves a historiographic lineage between politics, animal studies, landscape painting, and religion.

As one of the seminal theorists further developing François Laruelle’s politically-poised “non-standard philosophy,” Katerina Kolozova’s approach to animality and feminism is part of a particular post-humanist Marxist continuum (which includes Rosi Braidotti, Luce Irigaray, Donna Haraway and N. Katherine Hayles). Nonetheless, Kolozova distinguishes herself from this lineage by adhering to Laruelle’s method, liquidating philosophy of its anthropomorphic nexus. Thus, Kolozova also belongs to a more recently inaugurated and nascent tradition, working in tandem with post-Laruellean philosophers of media, technology, aesthetics and (...) feminist critique, such as Bogna Konior, Yvette Granata, Jonathan Fardy and John Ó Maoilearca. Within this variegated assemblage, Kolozova’s most recent project, Capitalism’s Holocaust of Animals(2019), saliently reconciles and radicalizes Haraway’s epochal dyad of the “inhuman”—a bifurcation riven by technology on one node and the animal on the other—by a resolution of superlative unity. This methodology, adhering to Laruelle’s system of“synthesis-without-synthesizing” attempts to dissolve the spectral chimeras that have haunted philosophy’s metaphysical heredity, proffering a generic identity. (shrink)

Thomas Elsaesser’s recent scholarship has examined the “mind-game film”, a phenomenon in Hollywood that is broadly characterised by multi-platform storytelling, paratextual narrative feedback loops, nonlinear storytelling, and unreliable character perspectives. While “mind-game” or “puzzle” films have become a contentious subject amongst post-cinema scholars concerned with Hollywood storytelling, what is to be said of contemporary European independent cinema? Elsaesser’s timely publication, European Cinema and Continental Philosophy, examines an amalgam of politically inclined European auteurs to resolve this query. Elsaesser concedes that there (...) exists a phenomenological confluence between the mind-game film and contemporary European cinema. For instance, both produce characters afflicted by productive pathologies, designating new socially useful forms of agency and identity. One only needs to consult the amnesiac protagonist M (Markku Peltola) in Aki Kaurismäki’s The Man Without a Past (Mies vailla menneisyyttä, 2002) or, as regards Lars von Trier’s cinema, Beth (Emily Watson) in Breaking the Waves (1996), Selma (Björk) in Dancer in the Dark (2000), “She” (Charlotte Gainsbourg) in Antichrist (2009) or Joe (Charlotte Gainsbourg) in Nymphomaniac (2013) to evince this overlap. However, this book is more concerned with performative self-contradictions, whereby cinema-as-enunciator is put under erasure, thus aggravating the inherent discrepancies troubling Europe today. Elsaesser, indeed, evaluates a growing general disaffection with politics, the rise of populist nationalism and far-right fringe parties, as well as an increasing population of economic migrants, refugees, and asylum seekers. (shrink)

Book review of Jean-Louis Schefer's The Ordinary Man of Cinema (2016) with particular attention to Schefer's conception of affect and its influence on Deleuze.

The Guggenheim’s spring retrospective of the seminal Swedish painter, Hilma Af Klint, has, naturally, evoked a multitude of art critics and visual culture scholars who laud her radical abstraction which, at the beginning of the 20th century, preceded Kandinsky, Malevich, Mondrian. Yet, where much attention has been given to the symbology and motifs riddling Klint’s work – bold, private, untethered and nonrepresentational as they are – there has been a modicum of nuanced thought on how, exactly, esotericism and theology fomented (...) Klint’s pedagogical projects. Jillian Steinhauer, for instance, has underscored Klint’s naturalistic watercolors; featuring flowers and lifelike drawings of women; Summer Landscape (1888) suggests Klint’s technical aptitude for rendering light. Jadranka Ryle, in a clever article titled “Reinventing the Yggdrasil,” invokes Klint’s motif of the Yggdrasil, or the holy tree of Norse mythology, as a political axle for Nordic romanticism. Ryle makes the claim that by redirecting the Yggdrasil towards androgynous abstraction, Klint’s engagement with Norse mythology subverts the nationalist and patriarchal romanticism that previously characterized the nineteenth century’s use of the Yggdrasil. Others have adroitly uncovered biographical fragments from Klint’s life, detailing how she and four friends formed De Fem (“the Five”), an exclusively female coven that met weekly, praying, meditating, and holding seances to commune with spiritual guides. Rather than poise the Swedish maverick within the cannon of abstraction qua a political praxis, feminist subject-being, or historiography – projects that have been exhaustively overwrought, to the point of rendering Klint’s work both mute and reductively technical– I would like to take this time to closely examine simply one of Klint’s paintings and foreground it as an axiomatic modernist injunction between metaphysics and epistemology. (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their account (...) of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

This is a review of Logic for Applications, by Anil Nerode and Richard A. Shore, published by Springer-Verlag in 1993.

The infinite judgement has long been forgotten and yet, as I am about to demonstrate, it may be urgent to revive it for its critical and productive potential. An infinite judgement is neither analytic nor synthetic; it does not produce logical truths, nor true representations, but it establishes the genetic conditions of real objects and the concepts appropriate to them. It is through infinite judgements that we reach the principle of transcendental logic, in the depths of which all reality can (...) emerge in its material and sensible singularity, making possible all generalization and formal abstraction. (shrink)

Drawing from Arjen Kleinherenbrink's recent book, Against Continuity: Gilles Deleuze's Speculative Realism (2019), this paper undertakes a detailed review of Kleinherenbrink's fourfold "externality thesis" vis-à-vis Deleuze's machine ontology. Reading Deleuze as a philosopher of the actual, this paper renders Deleuzean syntheses as passive contemplations, pulling other (passive) entities into an (active) experience and designating relations as expressed through contraction. In addition to reviewing Kleinherenbrink's book (which argues that the machine ontology is a guiding current that emerges in Deleuze's work after (...) Difference and Repetition) alongside much of Deleuze's oeuvre, we relate and juxtapose Deleuze's machine ontology to positions concerning externality held by a host of speculative realists. Arguing that the machine ontology has its own account of interaction, change, and novelty, we ultimately set to prove that positing an ontological "cut" on behalf of the virtual realm is unwarranted because, unlike the realm of actualities, it is extraneous to the structure of becoming-that is, because it cannot be homogenous, any theory of change vis-à-vis the virtual makes it impossible to explain how and why qualitatively different actualities are produced. (shrink)

In “Psychopower and Ordinary Madness” my ambition, as it relates to Bernard Stiegler’s recent literature, was twofold: 1) critiquing Stiegler’s work on exosomatization and artefactual posthumanism—or, more specifically, nonhumanism—to problematize approaches to media archaeology that rely upon technical exteriorization; 2) challenging how Stiegler engages with Giuseppe Longo and Francis Bailly’s conception of negative entropy. These efforts were directed by a prevalent techno-cultural qualifier: the rise of Synthetic Intelligence (including neural nets, deep learning, predictive processing and Bayesian models of cognition). This (...) paper continues this project but first directs a critical analytic lens at the Derridean practice of the ontologization of grammatization from which Stiegler emerges while also distinguishing how metalanguages operate in relation to object-oriented environmental interaction by way of inferentialism. Stalking continental (Kapp, Simondon, Leroi-Gourhan, etc.) and analytic traditions (e.g., Carnap, Chalmers, Clark, Sutton, Novaes, etc.), we move from artefacts to AI and Predictive Processing so as to link theories related to technicity with philosophy of mind. Simultaneously drawing forth Robert Brandom’s conceptualization of the roles that commitments play in retrospectively reconstructing the social experiences that lead to our endorsement(s) of norms, we compliment this account with Reza Negarestani’s deprivatized account of intelligence while analyzing the equipollent role between language and media (both digital and analog). (shrink)

In her seminal text, What Should We Do With Our Brain? (2008), Catherine Malabou gestured towards neuroplasticity to upend Bergson's famous parallel of the brain as a "central telephonic exchange," whereby the function of the brain is simply that of a node where perceptions get in touch with motor mechanisms, the brain as an instrument limited to the transmission and divisions of movements. Drawing from the history of cybernetics one can trace how Bergson's 'telephonic exchange' prefigures the neural 'cybernetic metaphor.' (...) It is elsewhere, however, that What Should We Do With Our Brain? finds its crux: inspired a dialectical-speculative opposition between plasticity and flexibility (wherein plasticity is the way in which time shapes or fashions us, constitutes our subjectivity and at the same time allows for resistance), Malabou invalidates the 'telephonic exchange' metaphor for failing to take into account synaptic and neuronal vitality. Bolstered by neurologist Marc Jeannerod's research in The Nature of Mind (2002), Malabou further demonstrated, in her past work, that the cybernetic metaphor has also had its day. In Morphing Intelligence, by problematizing intelligence as strictly empirical and biologically determined, Malabou also troubles the traditional distinction between intelligence and intuition. This division is perhaps best exemplified by Bergson’s analysis of intellectual measurement magnitudes in his appeal to intensity, and intensity alone. Malabou, drawing from Dewey and the pragmatism mode of thought, characterizes this fetid standstill as little more than provincialism, charging that, ater Bergson, no truly new argument was offered to counter intelligence as defined by psychologists and biologists, including the most recent cognitivist version. Despite I disagree with her claims regarding cognitivism, in echoing Georges Canguilhem, Malabou castigates psychology’s instrumentalist regard for intelligence, making the claim that it is able to measure only the human ability to “become an instrument.” Malabou contends that Alfred Binet (who heavily critiqued Bergson) had it right—intelligence is constituted by intensities and qualities. This book picks up from this critique and works genealogically; in my exegetical review, I engage with Malabou's and its implications, given her past work. (shrink)

Book review of Colin Koopman's How We Became Our Data (2019).

Recently, given the fomenting protests following the murders of George Floyd, Breonna Taylor and Ahmaud Arbery (amongst countless others), much discussion has erupted amongst contemporary artist-activists about the proper place for art and the aestheticization of politics. This is, of course, by no means a novel conversation. Historically, the aestheticization of politics has been disparaged perhaps most vocally by those such as Adorno and Horkheimer, but this critique has its most well-known roots in Plato. Plato’s critique is levelled at the (...) theatre and poetry, particularly the habituation effects of its consumption; specifically, Plato saw that the tragedy embodied by those performers inhabiting the stage and the enraptured audiences who engaged at the level of emotions. Plato censured the putatively groundless feelings demonstrated by actors and their transposition, artificiality’s ripple effect. Consider, for example, the actor performing the role of Achilles who extravagantly expresses grief without truly undergoing it. Audience members inhere towards an unmerited emotional hunger-cum-satisfaction for those putatively irrational feelings of loss by way of weeping and wailing. For Plato, such identification is devoid of proper evaluative grounding and, therefore, is corruptive. Plato’s critique can be considered an evaluation of the kind of rational emotional arrest that occurs through artificial emotional uptake. However, one could counter Plato’s position by noting how, regardless of whether these emotions are performed or the actors “truly” feel them, they may serve a political purpose and greater ends—bridging the audience together with performer/artist, allowing an “as if” simulative scenario. (shrink)

A review of Michel Henry's Marx (2020) that focuses on the later philosophical-economic body of his works.

Objective: This study aimed to determine the diagnostic value of median nerve cross-sectional area (MNCSA; mm2), which can be measured using ultrasonography (US), compared with electrophysiological parameters in patients with mild and moderate carpal tunnel syndrome (CTS). Methods: The study included 72 wrists of 25 patients with CTS diagnosis and 23 healthy controls. Median and ulnar sensory and motor nerve conduction study results and MNCSA values determined by US, of all subjects were recorded. Electrophysiological and US data of the patient (...) and control groups were compared, and a correlation between MNCSA and velocity and latency of sensory and motor conduction of median nerves was investigated. Moreover, Receiver operating characteristic ROC curve analysis was performed to determine the cut-off value for diagnosing CTS with MNCSA. Differences between the mean MNCSA values, median nerve sensory conduction velocity (SCV), and motor distal latency (MDL) were statistically significant between the groups. Results: Differences between the mean MNCSA values of grade 1 CTS patients with very mild CTS and those of the healthy controls were statistically significant. There was a moderate and significant negative correlation between MNCSA and SCV values and a low and significant positive correlation between MNCSA and MDL values. In addition, there was a moderate and significant positive correlation between MNCSA values and grades. A cut-off value of 10.25 mm2, which was obtained by the ROC analysis, enabled the differentiation of patients and controls with a sensitivity of 80% and specificity of 76%. Conclusion: We suggest that MNCSA, which is calculated using US, has high sensitivity and specificity values and is used as a firstline diagnostic tool with electromyography. (shrink)

MS IV. yüzyılda yaşayan Decimus Magnus Ausonius, Roma İmparatorluğu'nun özellikle batı yakasını yakından tanıyan önemli bir alim ve devlet adamıydı. Onu mühim biri haline getiren en önemli husus; çeşitli bilimler özelindeki bilgi birikiminin derinliği yanında başarılı bir eğitmen olmasıydı. Ayrıca, son derece stratejik mevkilere erişebilmiş bir devlet adamıydı. Yaşamının son yıllarında kaleme aldığı şiirlerinden olan Ordo Urbium Nobilium, Geç Antikçağ dünyasına dair önemli veriler içermektedir. Bu kapsamda, söz konusu çalışma kendisinin özellikle coğrafya, tarih, filoloji ve Latin edebiyatı-kültürü gibi çeşitli alanlarda (...) Geç Antikçağ eğitim kurumlarının ders içeriğine dâhil edilmiş şiirini konu edinmektedir. Öyle ki, Ortaçağdan günümüze değin Ausonius’un neredeyse her eseri hakkında yüzlerce çalışma gerçekleştirilmiş ve bunların birçoğu da ya yayımlanmış ya da yayımlanmayı bekler niteliktedir. Bu makalenin kurgusu da; Ausonius'un Ordo Urbium Nobilium başlıklı şiirinin içeriğinin ve kapsamının değerlendirilmesine odaklanmaktadır. Bu değerlendirme bağlamında öncelikle şiirde bahsi geçen kentler, şiir içerisinde aktarılan özellikleriyle incelenmekte, ayrıca Ausonius'un bu yerleşim birimleriyle şahsi ve resmi münasabetlerinin eserindeki yansıması irdelenecektir. (shrink)

Objective: This study aims to provide an in-depth knowledge of the perspectives of young adults on gender roles. There is a lack of literature in the appropriate age classes. -/- Methods: The study is descriptive in nature and includes 473 students. This research was conducted using a questionnaire and the Social Gender Perception Scale (SGPS) to collect data. -/- Results: It was determined that 52.4% of the study participants were female and 47.6% were male. 63% of the participants were affiliated (...) with the Faculty of Health Sciences, while the remainder were students from other faculties. The average SGPS score of the participants was 95.62±18.17, but this score varied based on socio-demographic variables. Specifically, being female, possessing an undergraduate degree or higher, studying in a health sciences faculty, and having a mother who completed primary school or higher were all linked to higher SGPS mean scores. Furthermore, statistical analysis revealed a significant difference between these groups (p<0.05). -/- Conclusion: It is imperative that parents are provided with educational programs aimed at fostering knowledge of social gender roles and cultivating egalitarian attitudes and viewpoints. It is important to strategically design and execute research endeavours aimed at ascertaining the perspectives and attitudes of parents of young individuals with respect to societal gender roles. (shrink)

One of the most legendary educational books ever written is Jean-Jacques Rousseau’s “Émile ou de l’Education”. Most obviously Rousseau wrote this book guided by diverse more or less conscious purposes and one of the main problems it presents is paradoxical: Does education have to promote freedom by force? In this article I will, firstly, present several aims that might have triggered Rousseau to write “Émile”. Secondly, I will discuss Rousseau’s view of the so called “educational paradox”. Since this quandary touches (...) the topic of many other of his books, I will discuss “Émile” along with Rousseau’s other works and thus place his educational story in his “great narrative”. (shrink)