Much scholarly work has been done on nursery rhymes. How they are coded artifacts warning children about sexual predators etc. But till date no work has been done about Vedanta and nursery rhymes. This draft will be developed into a monograph and in the meanwhile if anyone wants to develop on these ideas, please follow anti-plagiarism rules and cite properly. I thought of putting this up since both philosophers and literature scholars may benefit from some of (...) the insights here. This was given as part of a lecture. Then I discussed theodicy in these rhymes... this last I have not uploaded building up on the theodicy in Vedanta and then using this Vedanta-woven hermeneutic to psychoanalyse and analyse these English rhymes. (shrink)

This book on the topic of ethics and poetry consists of contributions from different continents on the subject of applied ethics related to poetry. It should gather a favourable reception from philosophers, ethicists, theologians and anthropologists from Africa, Asia, Europe and Latin America and allows for a comparison of the healing power of words from various religious, spiritual and philosophical traditions. The first part of this book presents original poems that express ethical emotions and aphorism related to a philosophical questioning (...) of the grounding of our values for life. The poems are written by twelve authors coming from four continents, for whom poetic emotions are sources of artistic inspiration and that can be used for conflict resolution. In the second part, which features short essays, nine authors tackle how poems, symbolic representations, metaphorical narratives and lies impact the space of possibilities, in which we are moved to action, knowledge formation, and how we imagine the world together. (shrink)

From an observation by the poet Paul Valéry, I argue that rhyme schemes, while constraining, also enable the poet to achieve autonomy from various surrounding influences, such as the domestic and the political. The demand to keep to the rhyme scheme takes priority, reducing the likelihood of these dominating.

Having a confirmation bias sometimes leads us to hold inaccurate beliefs. So, the puzzle goes: why do we have it? According to the influential argumentative theory of reasoning, confirmation bias emerges because the primary function of reason is not to form accurate beliefs, but to convince others that we’re right. A crucial prediction of the theory, then, is that confirmation bias should be found only in the reasoning domain. In this article, we argue that there is evidence that confirmation bias (...) does exist outside the reasoning domain. This undermines the main evidential basis for the argumentative theory of reasoning. In presenting the relevant evidence, we explore why having such confirmation bias may not be maladaptive. (shrink)

• It would be a moral disgrace for God (if he existed) to allow the many evils in the world, in the same way it would be for a parent to allow a nursery to be infested with criminals who abused the children. • There is a contradiction in asserting all three of the propositions: God is perfectly good; God is perfectly powerful; evil exists (since if God wanted to remove the evils and could, he would). • The religious (...) believer has no hope of getting away with excuses that evil is not as bad as it seems, or that it is all a result of free will, and so on. Piper avoids mentioning the best solution so far put forward to the problem of evil. It is Leibniz’s theory that God does not create a better world because there isn’t one — that is, that (contrary to appearances) if one part of the world were improved, the ramifications would result in it being worse elsewhere, and worse overall. It is a “bump in the carpet” theory: push evil down here, and it pops up over there. Leibniz put it by saying this is the “Best of All Possible Worlds”. That phrase was a public relations disaster for his theory, suggesting as it does that everything is perfectly fine as it is. He does not mean that, but only that designing worlds is a lot harder than it looks, and determining the amount of evil in the best one is no easy matter. Though humour is hardly appropriate to the subject matter, the point of Leibniz’s idea is contained in the old joke, “An optimist is someone who thinks this is the best of all possible worlds, and a pessimist thinks.. (shrink)

An analysis of a valenced corpus of English words revealed that words that rhyme with slurs are rated more poorly than their synonyms. What at first might seem like a bizarre coincidence turns out to be a robust feature of slurs, one arising from their phonetic structure. We report novel data on phonaesthetic preferences, showing that a particular class of phonemes are both particularly disliked, and overrepresented in slurs. We argue that phonaesthetic associations have been an overlooked source of some (...) of the more peculiar, arational aspects of slurs. We conclude by drawing broader morals about the evolution of the lexicon. (shrink)

A pineapple is a tropical plant with eatable leafy foods most monetarily critical plant in the family Bromeliaceous. The pineapple is native to South America, where it has been developed for a long time. The acquaintance of the pineapple with Europe in the seventeenth century made it a critical social symbol of extravagance. Since the 1820s, pineapple has been industrially filled in nurseries and numerous tropical manors. Further, it is the third most significant tropical natural product in world creation. In (...) the twentieth century, Hawaii was a prevailing maker of pineapples, particularly for the US, be that as it may, by 2016, Costa Rica, Brazil, and the Philippines represented almost 33% of the world's creation of pineapples. In this paper, machine learning based approach is presented for identifying type pineapple with a dataset that contains 1,311images use 946 images for training, 197 images for validation and 168 images for testing. A deep learning technique that extensively applied to image recognition was used. use 70% from image for training and 30% from image for validation. Our trained model achieved an accuracy of 100% on a heldout test set. (shrink)

This paper attempts to answer a central question in unsupervised learning: what does it mean to “make sense” of a sensory sequence? In our formalization, making sense involves constructing a symbolic causal theory that both explains the sensory sequence and also satisfies a set of unity conditions. The unity conditions insist that the constituents of the causal theory – objects, properties, and laws – must be integrated into a coherent whole. On our account, making sense of sensory input is a (...) type of program synthesis, but it is unsupervised program synthesis. Our second contribution is a computer implementation, the Apperception Engine, that was designed to satisfy the above requirements. Our system is able to produce interpretable human-readable causal theories from very small amounts of data, because of the strong inductive bias provided by the unity conditions. A causal theory produced by our system is able to predict future sensor readings, as well as retrodict earlier readings, and impute (fill in the blanks of) missing sensory readings, in any combination. In fact, it is able to do all three tasks simultaneously. We tested the engine in a diverse variety of domains, including cellular automata, rhythms and simple nursery tunes, multi-modal binding problems, occlusion tasks, and sequence induction intelligence tests. In each domain, we test our engine's ability to predict future sensor values, retrodict earlier sensor values, and impute missing sensory data. The Apperception Engine performs well in all these domains, significantly out-performing neural net baselines. We note in particular that in the sequence induction intelligence tests, our system achieved human-level performance. This is notable because our system is not a bespoke system designed specifically to solve intelligence tests, but a general-purpose system that was designed to make sense of any sensory sequence. (shrink)

Background: Many people with aphasia and people without brain injury talk to themselves in their heads, i.e., have “inner speech.” Inner speech may be more preserved compared with spoken speech for some people with aphasia and may serve a variety of functions (e.g., emotion regulation), which motivates us to provide a high-fidelity characterization of it. Researchers have used multiple methods to measure this internal phenomenon in the past, which we combine here for the first time in a single study. -/- (...) Aims: We compare performance between individuals with and without aphasia on inner speech tasks that assess inner speech “inthe- moment” to general subjective impressions of inner speech to tease apart the relationship of aphasia severity to inner speech. Methods and Procedures: Twenty people with mild-moderate aphasia and twenty neurotypical controls completed several inner speech tasks, including objective silent rhyme judgements (picture, written, and auditory), subjective reports of inner speech during naming, and subjective rating scales about inner speech experience more generally. -/- Outcomes and Results: In-the-moment inner speech during silent rhyming tasks was associated with aphasia severity only for picture and written rhyming but not auditory rhyming. In-the-moment inner speech reports during silent naming were not associated with aphasia severity, nor were the subjective ratings about general inner speech experience. Individuals with and without aphasia demonstrated a variety of subjective general inner speech experiences, demonstrating heterogeneity of this phenomenon more broadly. -/- Conclusions: Methods of measuring inner speech complement each other and speak to different facets of the inner speech phenomenon, and clinicians and researchers must carefully choose the method(s) that will provide the information about inner speech that they desire. (shrink)

Despite the ubiquity of inner speech in our mental lives, methods for objectively assessing inner speech capacities remain underdeveloped. The most common means of assessing inner speech is to present participants with tasks requiring them to silently judge whether two words rhyme. We developed a version of this task to assess the inner speech of a population of patients with aphasia and corresponding language production deficits. As expected, patients’ performance on the silent rhyming task was severely impaired relative to controls. (...) More surprisingly, however, patients’ performance on this task did not correlate with their performance on a variety of other standard tests of overt language abilities. In particular, patients who were generally unimpaired in their abilities to overtly name objects during confrontation naming tasks, and who could reliably judge when two words spoken to them rhymed, were still severely impaired (relative to controls) at completing the silent rhyme task. This seems to suggest that inner speech was more severely impaired in these patients than outer speech. However, these results should also cause us to critically reflect on the relation between inner speech and silent rhyme judgments more generally. (shrink)

This study examines the relation of language use to a person’s ability to perform categorization tasks and to assess their own abilities in those categorization tasks. A silent rhyming task was used to confirm that a group of people with post-stroke aphasia (PWA) had corresponding covert language production (or “inner speech”) impairments. The performance of the PWA was then compared to that of age- and education-matched healthy controls on three kinds of categorization tasks and on metacognitive self-assessments of their performance (...) on those tasks. The PWA showed no deficits in their ability to categorize objects for any of the three trial types (visual, thematic, and categorial). However, on the categorial trials, their metacognitive assessments of whether they had categorized correctly were less reliable than those of the control group. The categorial trials were distinguished from the others by the fact that the categorization could not be based on some immediately perceptible feature or on the objects’ being found together in a type of scenario or setting. This result offers preliminary evidence for a link between covert language use and a specific form of metacognition. (shrink)

Despite the ubiquity of bees in Dickinson’s work, most interpreters denigrate her nature poems. But following several recent scholars, I identify Nietzschean/Dionysian overtones in the bee poems and suggest the figure of bees/hive/queen illuminates as feminist key to her corpus. First, (a) the bee’s sting represents martyred death; (b) its gold, immortality; (c) its tongue, the “lesbian phallus”; (d) its wings, poetic power; (e) its buzz, poetic melody, and (f) its organism, a joyful Dionysian Susan (her sister-in-law and love interest) (...) to Emily’s flower. Second, the hive represents her individual poems (with slants/dashes as stingers, wings as hymn meter, honey as rhymes, variant words as exiled bees, and accompanying flowers their Darwinian coevolution with bees), constituting her writing persona as a multi-voiced self-swarm, as organized in the apiary of her letters and fascicles. And third, the queen represents her Western cultural and religious inheritance wherein bees are symbols of the soul, reincarnation, poetic-philosophical vocation, and a Nietzschean, trans-Dionysian naturalist ontology—symbolized by apiarian Artemis. (shrink)

Poetry is sometimes used in a logical argument sense of the five major arguments, and the meaning behind it is the argument and expression that its common element is imagination. In fact, the distinguishing feature of poetry from other arguments is the poetic nature of the language. Poetry is sometimes used in an artistic sense and can be considered one of the seven arts. The definition of artistic poetry can be understood as a speech that is firstly rhythmic, secondly rhyming, (...) and thirdly imaginative. In this article, poetry is used in the second sense, as poetry in the artistic sense can have a sublime aspect. In fact, poetry in the first sense has an industrial and organic aspect, while poetry in the second sense has an authentic aspect. Mulla Sadra, in addition to writing in prose in rational knowledge, has also expressed many of his sublime philosophical ideas in poetic language. What Sadr al-Muta'allihin has written in poetic form is poetry in the second sense because it has both the three conditions of being rhythmic, rhyming, and imaginative, as well as expressing sublime wisdom in poetic and sublime art language. (shrink)

This short article pairs the realms of “Mathematics”, “Philosophy”, and “Poetry”, presenting some corners of intersection of this type of scientocreativity. Poetry have long been following mathematical patterns expressed by stern formal restrictions, as the strong metrical structure of ancient Greek heroic epic, or the consistent meter with standardized rhyme scheme and a “volta” of Italian sonnets. Poetry was always connected to Philosophy, and further on, notable mathematicians, like the inventor of quaternions, William Rowan Hamilton, or Ion Barbu, the creator (...) of the Barbilian spaces, have written appreciated poems. We will focus here on an avant-garde movement in literature, art, philosophy, and science, called Paradoxism, founded in Romania in 1980 by a mathematician, philosopher and poet, and on the laboured writing exercises of the Oulipo group, founded in Paris in 1960 by mathematicians and poets, both of them still in act. (shrink)

In this paper I shall first illustrate the variety of uses the concept of "nature" can and does have. Then I shall indicate that the confusing variety is not without rhyme or reason. I shall end by saying a few words about the notion of "progress". This may sound surprising but the notion of "progress" does tie up with what I shall try to say about the contrast between nature and convention.

Background: Earlier study without actual trial indicated that caregivers needed delivery of information about outbreak situations independently of their job status. This report describes, for about two months in winter, actual delivery outbreak information to families with preschool children. The study objective was to confirm the usefulness of this information delivery. Method: Participants receiving outbreak information were recruited from the Child Care Support Service in a ward in Tokyo, Japan. Outbreak information was obtained from the Nursery School Absenteeism Surveillance (...) System (NSASSy) covering approximately 40% of all nursery schools in Japan, prescription surveillance and other resources. Delivery of outbreak information started in December 2017 and ceased at the end of February in 2018. After the delivery period, a questionnaire survey was administered to participants. Results: For this area, NSASSy showed the most dominant disease was influenza, with 707 patients, followed by group A streptococcal pharyngitis with 98 patients. The outbreak peak was inferred to be as Monday, 22 January, and it was announced by e-mail on 23 January. Of the 202 persons joined this trial, 60 participants responded to the questionnaire survey after the delivery period. Of those respondents, 98% wanted delivery of that information to continue. Conclusion: We found that almost all respondents confirmed usefulness of the information about infectious diseases which was delivered. (shrink)

One striking feature of pornographic images is that they emphasize what is depicted and underplay the way it is depicted: the experience of pornography rarely involves awareness of the picture’s composition or of visual rhyme. There are various ways of making this distinction between what is depicted in a picture and the way the depicted object is depicted in it. Following Richard Wollheim, I call these two aspects, the ‘what’ and ‘how’ of pictorial representation ‘recognitional’ and ‘configurational’, respectively. Some pictures (...) emphasize one of these aspects while underplaying the other. Pornographic pictures try to trigger as little attention to the ‘configurational’ aspect as possible. Instead of examining pornography, where the ‘configurational’ aspect of experience is underplayed, I focus on a historical attempt to create images of the female body where the ‘recognigional’ element is the one that is underplayed and the ‘configurational’ elements of the picture form an essential part of our experience. The pictures I have in mind are André Kertész’s series of photographs from 1933, called Distortions. I argue that Kertész’s Distortions are in this respect the counterpoint of pornography: they may be the least pornographic representations of the female nude. Instead of ignoring the ‘configurational aspects of the picture, making the picture transparent and fully at the service of showing the female body and thus to trigger arousal, Kertész aims to achieve the exact opposite. His photographs strip the female body of all its sexual connotations and draw our attention to the formal features of the picture – which is quite a feat in the light of the subject matter of these pictures that normally draw our attention away from the formal features of pictures. (shrink)

This essay undertakes a phenomenological inquiry into the ‘experiential structure of hip-hop’ – a structure that hip-hop artist Jay-Z (Shawn Carter) gestures towards in his text Decoded. In this book, Jay-Z argues that hip-hop has a particular power to act as the vehicle for the communication of a specific type of experience, i.e. contradictory experiences, or those which do not seem possible under the principle of non-contradiction. For instance, Tupac Shakur says of his mom that “…even as a crack fiend, (...) mama / You always was a Black Queen, mama.” The way in which hip-hop is a powerful vehicle for this communication lies, according to Jay-Z, in its very structure, which he describes using two sets of terms: rhythm/flow and music/rhyme. Using Jay-Z’s general outline, this essay attempts to complete a phenomenological analysis of hip-hop, in the effort to (1) isolate the experiential structure of hip-hop and (2) isolate, within this structure, the way in which hip-hop is able to communicate contradictory experiences. In the final analysis, the author isolates the experiential structure of hip-hop and shows how its multiple layers work to draw listeners in and induce them to experience-with the artist. (shrink)

This article proposes that oral performance could be a philosophical activity in early China. The focus is on the Huainanzi, a densely rhymed philosophical treatise compiled by Liu An in the second century b.c.e. I show that the tome contains various sound-correlated poetic forms that are intended not only to enable textual performance but also, by means of aural mimesis, to encourage the intuitive understanding of its philosophical messages. Thus scholars of ancient poetry, philosophy, or intellectual history, despite being habituated (...) to reading silently and observing disciplinary boundaries, should be attentive to these sonic patterns in order to do justice to the poetic-cum-philosophical richness and originality of this text. More importantly, I argue that these poetic forms enable readers and audiences to experience, embody, and, above all, enact the Way through textual performance. Thanks to the sound patterns of the Huainanzi, the somatic processes of aural reading and philosophical praxis can occur simultaneously. Vocalization becomes an actionable and repeatable spiritual exercise, which facilitates the intuitive understanding and internalization of philosophical values. In other words, the perennial knowing–doing gap is heroically closed by the Huainanzi. / 淮南子的文本聲景：早期中國的詩歌、表演、哲學與實踐 / 王棕琦 / 本文論證早期中國的文本表演可以是一種具創造性的哲學活動，而非只是以聲音演繹書寫文本的朗讀活動。文中首先指出《淮南子》裏跟聲音有關的詩歌形式不但有助朗誦表演，更能讓讀者直觀感悟書中哲學思想而不落言筌。而 且，這些詩歌形式更讓讀者通過朗讀而實踐、內化書中所述之大道。可以說，《淮南子》對中國哲學的一大貢獻在於它將「知道」、「傳道」和「行道」三者合而為一。. (shrink)

This paper inquires into literariness, a much neglected problem in translation, from a cognitive poetic perspective; it tries to show the nature of proxy as concerns translation through various illustrations, hence what is termed by Bausse-Beier the proxy principle, and in passing answer the philosophical problem of translatability or untranslatability. Literariness, not limited to literature, may exist in all texts. It can be defined as the form of a text that is suggestive of something, different from that of a text (...) that is not. Any text that is literary is a literary text. Literariness may be realized through the use of metaphors, personifications, imagery, hyperbole and so on, and through the employment of pattern such as alliteration, paranomasia, meter, rhyme and so on. In translating a literary text, a translator should capture the literariness, otherwise the translation fails. However, in the process of translation, some of these features that contribute to the form, such as phonological or prosodic ones, will be definitely lost. If literariness is to be maintained, there should be a way for compensation. Analogy comes to the fore, though translation is by nature analogical; it is employed to reveal the iconicity between signifier and signified through some means of representation. In such an endeavor, optimum relevance should be aimed at so that a good proxy can be ensured: what is in the mind of an original reader should be that in the mind of a translation reader. (shrink)